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 Germany and from Stockholm.
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 1961 to 1974.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school New York 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 linndrum 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 Gary Puckett & The Union Gap to the dance 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 Lindisfarne. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Boz Scaggs 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
UT,
New Age Steppers,
The Music Machine,
Alison Limerick,
Matthew Halsall,
The Monochrome Set,
Q and Not U,
The Moody Blues,
Amon Düül II,
Freddie Wadling,
Ash Ra Tempel,
Bill Near,
ABC,
Technova,
Bobby Sherman,
Qualms,
Organ,
Eric Dolphy,
Kaleidoscope,
FM Einheit,
Gang of Four,
Bluetip,
the Soft Cell,
La Düsseldorf,
The Neon Judgement,
The Standells,
Vaughan Mason & Crew,
The Fugs,
Danielle Patucci,
Gang Starr,
Be Bop Deluxe,
Lightning Bolt,
Peter Gordon & Love of Life Orchestra,
Inner City,
The Velvet Underground,
Roy Ayers Ubiquity,
The Moleskins,
Faraquet,
Siouxsie and the Banshees,
CMW,
John Lydon,
Roger Hodgson,
Lizzy Mercier Descloux,
The Tremeloes,
Quadrant,
Agent Orange,
The Wake,
John Coltrane,
Orchestral Manoeuvres in the Dark,
Outsiders,
Tommy Roe,
Lou Reed & John Cale,
The Names,
Minny Pops,
Robert Wyatt,
The Durutti Column,
Sandy B,
Black Sheep,
Roy Ayers,
Man Eating Sloth,
Das Ding,
Nico,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.