Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from United States and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1976.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Beijing kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Fear to the disco kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gil Scott-Heron & Brian Jackson. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Steve Hackett,
Alton Ellis,
Minny Pops,
The Red Krayola,
Byron Stingily,
Donald Byrd,
The Associates,
Jacques Brel,
The Doobie Brothers,
Royal Trux,
Bush Tetras,
Audionom,
Soul Sonic Force,
Japan,
Trumans Water,
Rites of Spring,
Supertramp,
Black Flag,
Joyce Sims,
Strawberry Alarm Clock,
R.M.O.,
Spandau Ballet,
The Grass Roots,
The Leaves,
Ultravox,
Desert Stars,
FM Einheit,
Shuggie Otis,
Los Fastidios,
Ronnie Foster,
Ajijia Myrayebe,
Talk Talk,
Massinfluence,
Pierre Henry,
Popol Vuh,
Larry & the Blue Notes,
Sun Ra Arkestra,
the Association,
Adolescents,
One Last Wish,
Fad Gadget,
Gil Scott-Heron & Brian Jackson,
T. Rex,
The Kinks,
London Community Gospel Choir,
The Sisters of Mercy,
Yaz,
Echospace,
Technova,
Ultra Naté,
Marcia Griffiths,
Morten Harket,
Kaleidoscope,
X-Ray Spex,
the Soft Cell,
The Doors,
The Names,
Laurel Aitken,
Orchestral Manoeuvres in the Dark,
Bobbi Humphrey,
The Knickerbockers,
Fela Kuti,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.