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 Seychelles and from Salvador.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Jandek to the electroclash 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 The New Christs. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Deutsch Amerikanische Freundschaft,
Bluetip,
Pete Rock & C.L. Smooth,
Mad Mike,
48th St. Collective,
Q65,
Beasts of Bourbon,
Be Bop Deluxe,
The Fuzztones,
Warren Ellis,
Howard Jones,
Excepter,
The Gories,
Barrington Levy,
The Slits,
Johnny Osbourne,
Nik Kershaw,
The Standells,
Wolf Eyes,
The Kinks,
UT,
Siouxsie and the Banshees,
Fela Kuti,
Bang On A Can,
Crooked Eye,
The Happenings,
The Jesus and Mary Chain,
Notorious Big And Bone Thugs,
Altered Images,
Dead Boys,
Robert Hood,
Vainqueur,
Von Mondo,
The Fortunes,
Gang of Four,
The Searchers,
Brick,
Kayak,
Joe Smooth,
Lower 48,
Judy Mowatt,
Kings Of Tomorrow,
Wire,
Funkadelic,
Simply Red,
Kevin Saunderson,
Matthew Halsall,
Procol Harum,
Inner City,
Depeche Mode,
Bad Manners,
Jacques Brel,
Cecil Taylor,
Bobby Byrd,
Jesper Dahlbäck,
The Young Rascals,
Deepchord,
Warsaw,
Robert Wyatt,
Stiv Bators,
Con Funk Shun,
Cal Tjader,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.