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 Kenya and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Spokane 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 Nile Rodgers 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 Nick Fraelich to the jazz kids.
I played it at the 40 Watt.
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 Steve Hackett. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your sitar and bought an organ.
I hear that you and your band have sold your organ and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Siglo XX,
Tears for Fears,
Index,
Agitation Free,
Procol Harum,
The Pretty Things,
Skarface,
Rahsaan Roland Kirk,
Dead Boys,
Jerry Gold Smith,
Masters at Work,
Trumans Water,
Pere Ubu,
Moebius,
Fluxion,
The Gories,
Buzzcocks,
The Sisters of Mercy,
Roy Ayers Ubiquity,
John Coltrane,
Roger Hodgson,
Sexual Harrassment,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
Art Ensemble Of Chicago,
U.S. Maple,
The Kinks,
Avey Tare & Kría Brekkan,
The Remains,
Throbbing Gristle,
Ponytail,
The Gun Club,
Kaleidoscope,
Sällskapet,
Accadde A,
James Chance & The Contortions,
June of 44,
Wire,
The West Coast Pop Art Experimental Band,
Jesper Dahlbäck,
Babytalk,
World's Most,
The Count Five,
Depeche Mode,
Scott Walker + Sunn O))),
Fat Boys,
Henry Cow,
Eve St. Jones,
Echospace,
Magazine,
Richard Hell and the Voidoids,
Heavy D & The Boyz,
Mo-Dettes,
Harmonia,
The Moleskins,
Faust,
MDC,
It's A Beautiful Day,
Gerry Rafferty,
Scientists, Scientists, Scientists, Scientists.
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.