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 France and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Paris 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 Scrapy to the disco kids.
I played it at Trash.
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 Spandau Ballet. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
The Smoke,
Newcleus,
Rahsaan Roland Kirk,
Skriet,
Bluetip,
Hashim,
AZ,
Bauhaus,
Lalann,
The Detroit Cobras,
The Pop Group,
EPMD,
Desert Stars,
Sad Lovers and Giants,
Youth Brigade,
Crash Course in Science,
Gregory Isaacs,
B.T. Express,
The Count Five,
In Retrospect,
Quadrant,
Gian Franco Pienzio,
Notorious BIG live in Amsterdam,
The New Christs,
Pagans,
Model 500,
Make Up,
Wighnomy Brothers & Robag Wruhme,
Drexciya,
The Divine Comedy,
Second Layer,
John Coltrane,
Soft Machine,
New Age Steppers,
Darondo,
Animal Collective,
Agitation Free,
Ken Boothe,
48th St. Collective,
Avey Tare's Slasher Flicks,
Black Moon,
Reagan Youth,
The Wake,
Monolake,
Pole,
L. Decosne,
Letta Mbulu,
Peter and Kerry,
Gang Gang Dance,
These Immortal Souls,
Technova,
Robert Hood,
Stockholm Monsters,
Tommy Roe,
Infiniti,
Fort Wilson Riot,
Section 25,
Carl Craig,
R.M.O.,
Cecil Taylor,
Charles Mingus,
The United States of America,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.