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 North and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 The Gap Band to the rap 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 Lou Reed & Metallica. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every June Days 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Faust,
Graham Central Station,
Tommy Roe,
Amon Düül II,
John Holt,
Tomorrow,
Joyce Sims,
Smog,
Steve Hackett,
ABC,
X-101,
Pantytec,
Surgeon,
Lucky Dragons,
Arthur Verocai,
X-Ray Spex,
John Lydon,
The Shadows of Knight,
T.S.O.L.,
The Searchers,
Sight & Sound,
Masters at Work,
Jandek,
Altered Images,
Soul II Soul,
The Durutti Column,
AZ,
The Blackbyrds,
Tim Buckley,
Sarah Menescal,
The Black Dice,
Siglo XX,
Lalo Schifrin,
UT,
Jeru the Damaja,
Ultra Naté,
Pantaleimon,
Trumans Water,
Anthony Braxton,
Nico,
Outsiders,
Model 500,
Barclay James Harvest,
Dawn Penn,
Deadbeat,
Theoretical Girls,
Oppenheimer Analysis,
A Flock of Seagulls,
Ultravox,
Rowland S Howard / Lydia Lunch,
Television Personalities,
The Moody Blues,
The Electric Prunes,
Grandmaster Flash,
The Busters,
Section 25,
Ultramagnetic MC's,
Country Joe & The Fish,
Pierre Henry,
Mars,
The Dirtbombs,
Q and Not U,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.