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 Spain and from Stockholm.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Columbus 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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar 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 Electric Light Orchestra to the techno kids.
I played it at CBGB's.
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 Negative Approach. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
48th St. Collective,
Sex Pistols,
Kaleidoscope,
Eurythmics,
Camberwell Now,
Laurel Aitken,
David Axelrod,
Vladislav Delay,
Gong,
Eve St. Jones,
Cluster,
Tears for Fears,
Idris Muhammad,
Erasure,
The Beau Brummels,
Drive Like Jehu,
Bobby Byrd,
Talk Talk,
Saccharine Trust,
Darondo,
Juan Atkins,
London Community Gospel Choir,
Lalann,
Royal Trux,
Bang On A Can,
Section 25,
The Angels of Light,
The American Breed,
Johnny Osbourne,
Radio Birdman,
Piero Umiliani,
Black Flag,
Sly & The Family Stone,
Jesper Dahlbäck,
Gary Puckett & The Union Gap,
The Mojo Men,
Scion,
Pylon,
John Coltrane,
Con Funk Shun,
The Residents,
Guru Guru,
Shoche,
The Wake,
Rowland S Howard / Lydia Lunch,
Aswad,
Kerri Chandler,
Soulsonic Force,
Fort Wilson Riot,
Joyce Sims,
Sight & Sound,
Soul Sonic Force,
The Blackbyrds,
Bauhaus,
Sandy B,
The Royal Family And The Poor,
Gian Franco Pienzio,
Leonard Cohen,
Quando Quango,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.