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 Egypt and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin 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 Hoover to the techno kids.
I played it at the Troubador.
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 Amon Düül II. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Fatback Band,
Pole,
Thompson Twins,
Arcadia,
Lucky Dragons,
Curtis Mayfield,
Roy Ayers,
The Monochrome Set,
Captain Beefheart & His Magic Band,
Basic Channel,
Harpers Bizarre,
Strawberry Alarm Clock,
Ponytail,
Roxette,
Matthew Bourne,
Tom Boy,
Lalo Schifrin,
cv313,
Minutemen,
The Fire Engines,
Barbara Tucker,
Camouflage,
Oneida,
Cal Tjader,
Juan Atkins,
Masters at Work,
Richard Hell and the Voidoids,
New Age Steppers,
Boz Scaggs,
Graham Central Station,
Pantytec,
Con Funk Shun,
Patti Smith,
James White and The Blacks,
Joey Negro,
Mission of Burma,
Chris & Cosey,
Prince Buster,
48th St. Collective,
Hashim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Vogues,
Cameo,
The Mojo Men,
Warren Ellis,
The Mummies,
Joe Finger,
Sandy B,
June of 44,
Camron Feat. Memphis Bleek And Beenie Seigel,
Heaven 17,
Wally Richardson,
Man Eating Sloth,
Grey Daturas,
Easy Going,
The Blues Magoos,
Swans,
The Victims,
A Certain Ratio,
The Blackbyrds,
Echospace,
Piero Umiliani,
Aaron Thompson,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.