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 Korea South and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Be Bop Deluxe to the rock kids.
I played it at the Spitz.
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 Banda Bassotti. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Soft Cell 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Roger Hodgson,
T.S.O.L.,
Roy Ayers Ubiquity,
The Electric Prunes,
The Names,
Warren Ellis,
Gang Green,
Rakim,
Donald Byrd,
the Bar-Kays,
X-101,
Q65,
Crooked Eye,
Yellowson,
Sticky Fingaz feat. Raekwon,
Absolute Body Control,
Rapeman,
Andrew Hill,
Monolake,
The Happenings,
Blancmange,
Frankie Knuckles,
Curtis Mayfield,
Tomorrow,
John Holt,
Black Flag,
Mary Jane Girls,
Grandmaster Flash and the Furious Five,
Terrestrial Tones,
Barclay James Harvest,
OOIOO,
The Birthday Party,
London Community Gospel Choir,
The Star Department,
Eurythmics,
The Victims,
Sparks,
Drexciya,
John Coltrane,
Thinking Fellers Union Local 282,
Dennis Brown,
Hot Snakes,
The Standells,
Soul II Soul,
Bootsy Collins,
The Blues Magoos,
The Human League,
Icehouse,
Anakelly,
Pole,
X-Ray Spex,
Gil Scott Heron,
Rhythim Is Rhythim,
Liaisons Dangereuses,
Marcia Griffiths,
Ronnie Foster,
Tropical Tobacco,
The Moody Blues,
Junior Murvin,
The Kinks,
a-ha,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.