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 Swaziland and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Seoul 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Lightning Bolt to the disco kids.
I played it at the Troubador.
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 The Index. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal disco 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 a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
T.S.O.L.,
the Bar-Kays,
The Tremeloes,
Dual Sessions,
Iggy Pop,
Roger Hodgson,
Oneida,
Loose Ends,
Arthur Verocai,
Ultra Naté,
Roxy Music,
The Young Rascals,
Faraquet,
Fugazi,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
Jesper Dahlbäck,
cv313,
MC5,
Wasted Youth,
James Chance & The Contortions,
Visionaries,LMNO, T- Love & Iriscience,
Youth Brigade,
Frankie Knuckles,
Eric Copeland,
The Electric Prunes,
Roxette,
The Associates,
Lizzy Mercier Descloux,
Warsaw,
Pantaleimon,
Amazonics,
Spoonie Gee,
Robert Görl,
Steve Hackett,
Liaisons Dangereuses,
UT,
The Slackers,
Hashim,
Symarip,
Porter Ricks,
DeepChord presents Echospace,
Mark Hollis,
Bobbi Humphrey,
China Crisis,
Supertramp,
Roy Ayers,
The Mojo Men,
Max Romeo,
Excepter,
Depeche Mode,
Wings,
Rowland S Howard / Lydia Lunch,
Lindisfarne,
Drexciya,
Slave,
Can,
Rhythim Is Rhythim,
The American Breed, The American Breed, The American Breed, The American Breed.
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.