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 Ethiopia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school London 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 oboe sounds with much patience.
I was there when David Bowie 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 Marmalade 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 Public Enemy. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Tears for Fears,
Mo-Dettes,
Sandy B,
Soul II Soul,
Joe Smooth,
Derrick May,
Negative Approach,
Barbara Tucker,
Parry Music,
DJ Style,
Kerrie Biddell,
The Alarm Clocks,
Agent Orange,
Bobby Womack,
The Seeds,
The Men They Couldn't Hang,
Japan,
Nation of Ulysses,
The Busters,
Aaron Thompson,
Henry Cow,
Janne Schatter,
Kayak,
Aural Exciters,
Mars,
the Swans,
Godley & Creme,
Isaac Hayes,
Althea and Donna,
Boogie Down Productions,
Siouxsie and the Banshees,
Severed Heads,
John Coltrane,
Ohio Players,
a-ha,
The New Christs,
Public Image Ltd.,
Soft Machine,
Davy DMX,
Fear,
The Doors,
Camron Feat. Jay Z And Juelz,
Reagan Youth,
David Bowie,
Fat Boys,
Pere Ubu,
Barrington Levy,
Bill Wells,
Terry Callier,
Marshall Jefferson,
David McCallum,
L. Decosne,
Bauhaus,
The Knickerbockers,
Con Funk Shun,
Bob Dylan,
Porter Ricks,
The Music Machine,
Girls At Our Best!,
Eve St. Jones,
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.