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 Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Copenhagen 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 clarinet 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 Shuggie Otis to the punk 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 Qualms. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Fad Gadget 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Kool Moe Dee,
Masters at Work,
Lalo Schifrin,
a-ha,
Drexciya,
Crispian St. Peters,
The Names,
Soft Cell,
Jerry Gold Smith,
Mark Hollis,
Bronski Beat,
ABC,
Byron Stingily,
Alice Coltrane,
The Electric Prunes,
Sunsets and Hearts,
The Seeds,
Funkadelic,
Rapeman,
Steve Hackett,
Lebanon Hanover,
Camron Feat. Memphis Bleek And Beenie Seigel,
Drive Like Jehu,
John Foxx,
Black Flag,
Pagans,
Neu!,
Sugar Minott,
Japan,
Aloha Tigers,
The Victims,
Godley & Creme,
Avey Tare's Slasher Flicks,
John Holt,
Ponytail,
Nation of Ulysses,
Loose Ends,
Brand Nubian,
Kayak,
Fort Wilson Riot,
Moby Grape,
Make Up,
The Barracudas,
Fela Kuti,
Fad Gadget,
Mars,
Kas Product,
Gerry Rafferty,
Grauzone,
Juan Atkins,
Sad Lovers and Giants,
Gary Puckett & The Union Gap,
Richard Hell and the Voidoids,
The Real Kids,
Oblivians,
This Heat,
OOIOO,
June Days,
The Move,
Arab on Radar,
Malaria!, Malaria!, Malaria!, Malaria!.
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.