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 Eritrea and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1962 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Godley & Creme to the rap kids.
I played it at the 40 Watt.
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 Yellowson. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Gil Scott-Heron & Brian Jackson,
Sunsets and Hearts,
The Velvet Underground,
Visage,
Y Pants,
Scott Walker,
The Gories,
Al Stewart,
JFA,
DeepChord presents Echospace,
Ponytail,
Electric Light Orchestra,
Lungfish,
Intrusion,
Cameo,
Gil Scott Heron,
The Fortunes,
Rotary Connection,
Yusef Lateef,
Prince Buster,
Country Joe & The Fish,
Lafayette Afro Rock Band,
Shuggie Otis,
Amazonics,
Ash Ra Tempel,
Circle Jerks,
X-102,
Bootsy Collins,
Lou Reed,
Graham Central Station,
Roy Ayers Ubiquity,
Erasure,
Harmonia,
Avey Tare,
Lou Reed & Metallica,
The Litter,
Alphaville,
Radiohead,
Fugazi,
The Cowsills,
Rufus Thomas,
Curtis Mayfield,
Arthur Verocai,
Parry Music,
The Skatalites,
Skarface,
The Cure,
The Gap Band,
The West Coast Pop Art Experimental Band,
Idris Muhammad,
Heaven 17,
Pharaoh Sanders and the Fire Engines,
Brick,
Juan Atkins,
Spandau Ballet,
Cheater Slicks,
Red Lorry Yellow Lorry,
Pussy Galore,
Rosa Yemen,
Angry Samoans,
Nico, Nico, Nico, Nico.
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.