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 Cuba and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 The Wake to the grime 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 Fela Kuti. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
The Monochrome Set,
David Axelrod,
Hashim,
Cheater Slicks,
Thee Headcoats,
Q65,
Peter Gordon & Love of Life Orchestra,
The Litter,
Simply Red,
The Fire Engines,
E-Dancer,
The Barracudas,
U.S. Maple,
London Community Gospel Choir,
Zapp,
Gong,
Warren Ellis,
Louis and Bebe Barron,
Black Bananas,
Black Flag,
Nation of Ulysses,
Traffic Nightmare,
Rapeman,
Hardrive,
Lebanon Hanover,
La Düsseldorf,
Marine Girls,
The Angels of Light,
Japan,
Young Marble Giants,
Connie Case,
Bronski Beat,
Eric Dolphy,
Ralphi Rosario,
Lafayette Afro Rock Band,
Kaleidoscope,
Guru Guru,
Laurel Aitken,
The Neon Judgement,
Radio Birdman,
Yaz,
Terrestrial Tones,
Oneida,
Toni Rubio,
Faust,
Goldenarms,
Howard Jones,
Scrapy,
Negative Approach,
Spandau Ballet,
Ultravox,
B.T. Express,
Severed Heads,
Minny Pops,
Anthony Braxton,
Girls At Our Best!,
Iggy Pop,
The Beau Brummels,
Skaos,
48th St. Collective,
X-Ray Spex,
The Cure, The Cure, The Cure, The Cure.
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.