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 Cape Verde and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Roger Hodgson to the rock kids.
I played it at the Spitz.
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 Interpol. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Eurythmics,
Chrome,
Glambeats Corp.,
Mary Jane Girls,
The United States of America,
the Swans,
Larry & the Blue Notes,
Todd Rundgren,
Laurel Aitken,
the Normal,
AZ,
Alton Ellis,
The Durutti Column,
Archie Shepp,
Patti Smith,
The Blues Magoos,
Terror Squad Feat. Camron,
Popol Vuh,
Soulsonic Force,
Alice Coltrane,
The Barracudas,
Gichy Dan,
the Bar-Kays,
Crispian St. Peters,
Scott Walker + Sunn O))),
Jeff Mills,
U.S. Maple,
a-ha,
The Tremeloes,
Barbara Tucker,
The Fire Engines,
Skaos,
Super Lover Cee & Casanova Rud,
The Sonics,
Thee Headcoats,
Bobby Sherman,
The Last Poets,
Connie Case,
Absolute Body Control,
Sugar Minott,
Maleditus Sound,
Gregory Isaacs,
Soft Cell,
One Last Wish,
Grey Daturas,
Kings Of Tomorrow,
Lou Christie,
Gian Franco Pienzio,
48th St. Collective,
Hot Snakes,
Red Lorry Yellow Lorry,
Ludus,
Glenn Branca,
Sparks,
Supertramp,
The Fugs,
The Star Department,
The Shadows of Knight,
Negative Approach,
Au Pairs,
Avey Tare,
Bang on a Can All-Stars,
DNA, DNA, DNA, DNA.
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.