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 Mali and from Mumbai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Al Stewart to the crunk kids.
I played it at the Hacienda.
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 Drexciya. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Girls At Our Best! 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 a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Pulsallama,
Dennis Brown,
Stiv Bators,
Buzzcocks,
Liaisons Dangereuses,
X-Ray Spex,
DeepChord presents Echospace,
Michelle Simonal,
Hashim,
The Walker Brothers,
Sex Pistols,
Khruangbin,
The Happenings,
John Foxx,
Brass Construction,
Big Daddy Kane,
One Last Wish,
Bobby Sherman,
Kaleidoscope,
Richard Hell and the Voidoids,
Loose Ends,
X-102,
Harry Pussy,
the Association,
Circle Jerks,
The Moody Blues,
Kas Product,
Quadrant,
Rhythim Is Rhythim,
Lakeside,
The Cosmic Jokers,
Danielle Patucci,
Fugazi,
The Flesh Eaters,
The Barracudas,
Brand Nubian,
The Zeros,
Bill Near,
Jawbox,
Technova,
Vainqueur,
Piero Umiliani,
Quantec,
Qualms,
Jandek,
Darondo,
Tomorrow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
a-ha,
Jacques Brel,
Drexciya,
Scratch Acid,
Kevin Saunderson,
Moebius,
The American Breed,
Fear,
Soft Machine,
Moss Icon,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.