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 Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Q65 to the dance 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 John Cale. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every The Modern Lovers 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin 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 guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Fuzztones,
Orchestral Manoeuvres in the Dark,
the Fania All-Stars,
The Moody Blues,
Rotary Connection,
Main Source,
Schoolly D,
Visage,
Young Marble Giants,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Connie Case,
Lafayette Afro Rock Band,
Clear Light,
Fear,
Thee Headcoats,
The Monochrome Set,
Gerry Rafferty,
London Community Gospel Choir,
Man Eating Sloth,
Wings,
The Standells,
Lee Hazlewood,
The Offenders,
Frankie Knuckles,
Teenage Jesus and the Jerks,
Theoretical Girls,
Guru Guru,
Sly & The Family Stone,
Godley & Creme,
Lebanon Hanover,
Duran Duran,
Television Personalities,
The Move,
Angels of Light & Akron/Family,
Country Teasers,
The Gun Club,
Crime,
Amon Düül,
Lou Christie,
Ultra Naté,
Arthur Verocai,
Bill Wells,
Be Bop Deluxe,
The Count Five,
Glenn Branca,
Dark Day,
Aswad,
Bauhaus,
Bobby Sherman,
Pere Ubu,
Dual Sessions,
James White and The Blacks,
The Slits,
The Knickerbockers,
cv313,
the Normal,
Magazine,
Aural Exciters,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.