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 Jordan and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Tehran 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 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 Ultravox to the funk 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 Steve Hackett. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Deutsch Amerikanische Freundschaft,
John Lydon,
Bauhaus,
Aural Exciters,
Flash Fearless,
Accadde A,
Marshall Jefferson,
June Days,
Scan 7,
LL Cool J,
Youth Brigade,
Reuben Wilson,
Gary Puckett & The Union Gap,
Kool G Rap & DJ Polo,
the Fania All-Stars,
Grandmaster Flash,
Michelle Simonal,
Reagan Youth,
Model 500,
DJ Sneak,
the Swans,
Ronnie Foster,
Gil Scott Heron,
Shoche,
Lou Reed,
Nick Cave & The Bad Seeds,
Magazine,
Supertramp,
Sister Nancy,
Bobby Byrd,
Matthew Bourne,
PIL,
Bill Near,
Cymande,
Dual Sessions,
The Happenings,
Young Marble Giants,
The Monochrome Set,
Warsaw,
Rod Modell,
Siglo XX,
Yaz,
X-102,
Skriet,
Sight & Sound,
Hardrive,
Mad Mike,
Oneida,
Lungfish,
The Electric Prunes,
Black Moon,
Interpol,
Q and Not U,
Boogie Down Productions,
Kurtis Blow,
Brick,
Franke,
Freddie Wadling,
One Last Wish,
Peter & Gordon,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.