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 Lesotho and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Lille 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 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 Newcleus to the jazz 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 Bobby Hutcherson. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal dance 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 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 Bronski Beat record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Bootsy's Rubber Band,
EPMD,
Rod Modell,
Piero Umiliani,
Cymande,
Max Romeo,
Gichy Dan,
the Bar-Kays,
Girls At Our Best!,
Louis and Bebe Barron,
Audionom,
Average White Band,
Sun City Girls,
Supertramp,
Funky Four + One,
LL Cool J,
The Gap Band,
Teenage Jesus and the Jerks,
the Fania All-Stars,
Black Sheep,
Letta Mbulu,
48th St. Collective,
Strawberry Alarm Clock,
Tropical Tobacco,
Peter Gordon & Love of Life Orchestra,
De La Soul & Jungle Brothers,
Fugazi,
Anakelly,
The Beau Brummels,
Rhythm & Sound,
Whodini,
La Düsseldorf,
Swans,
the Swans,
The Smoke,
Oneida,
KRS-One,
Nik Kershaw,
Panda Bear,
Kerri Chandler,
Pantaleimon,
David Axelrod,
Eden Ahbez,
L. Decosne,
Crash Course in Science,
Orchestral Manoeuvres in the Dark,
A Flock of Seagulls,
Clear Light,
Half Japanese,
Soul Sonic Force,
Lou Reed & Metallica,
Susan Cadogan,
Moby Grape,
The Buckinghams,
Glenn Branca,
The Cowsills,
Heavy D & The Boyz,
Chrome,
Sexual Harrassment,
The Star Department,
John Cale,
A Certain Ratio,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.