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 Brazil and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Lille 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 spring reverb 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 N.O.R.E. Featuring Pharrell to the jazz kids.
I played it at the Roxy.
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 Boredoms. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every The Fall 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Chrome,
Subhumans,
OOIOO,
X-102,
Warsaw,
Monolake,
Grey Daturas,
John Lydon,
Procol Harum,
Kool Moe Dee,
Lou Christie,
Metal Thangz,
Harry Pussy,
Tommy Roe,
The Residents,
Q65,
Susan Cadogan,
The Leaves,
The Fugs,
Anthony Braxton,
The Litter,
One Last Wish,
Eric Dolphy,
Nils Olav,
Toni Rubio,
the Association,
The Flesh Eaters,
Supertramp,
Marvin Gaye,
Johnny Clarke,
Zero Boys,
Bill Wells,
Angry Samoans,
Mandrill,
Joy Division,
Hoover,
Alison Limerick,
Derrick Morgan,
Pete Rock & C.L. Smooth,
Deepchord,
Aaron Thompson,
Model 500,
Terry Callier,
The Cramps,
Popol Vuh,
Kerrie Biddell,
Masters at Work,
Loose Ends,
Max Romeo,
Ultra Naté,
The Victims,
The Gories,
Skaos,
Rowland S Howard / Lydia Lunch,
The Dave Clark Five,
Blake Baxter,
ABC,
Bizarre Inc.,
The Knickerbockers,
Archie Shepp,
Yusef Lateef,
Jerry Gold Smith,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.