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 Syria and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Eric Copeland 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 Kevin Saunderson. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Sparks 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
The Electric Prunes,
Crime,
The Sound,
The Flesh Eaters,
Big Daddy Kane,
Goldenarms,
Alice Coltrane,
Radiohead,
Sonny Sharrock,
Jerry's Kids,
Quadrant,
Jacques Brel,
Suicide,
Thompson Twins,
Juan Atkins,
Terrestrial Tones,
Nils Olav,
Franke,
Lonnie Liston Smith,
Bobby Byrd,
The Birthday Party,
Lizzy Mercier Descloux,
Sällskapet,
Lungfish,
Clear Light,
Swans,
Moss Icon,
Fat Boys,
Glenn Branca,
MC5,
Drive Like Jehu,
Visage,
Scientists,
DeepChord presents Echospace,
Agitation Free,
John Lydon,
Wally Richardson,
Oppenheimer Analysis,
Marcia Griffiths,
Nick Cave & The Bad Seeds,
Fluxion,
8 Eyed Spy,
The Evens,
Tears for Fears,
The Grass Roots,
Half Japanese,
Todd Rundgren,
Funkadelic,
The Victims,
Boogie Down Productions,
Blancmange,
The Techniques,
Dual Sessions,
Grey Daturas,
Eurythmics,
Silicon Teens,
Minnie Riperton,
Cal Tjader,
The Shadows of Knight,
Ultravox,
The New Christs, The New Christs, The New Christs, The New Christs.
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.