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 Israel and from Copenhagen.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Tehran 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 Lou Reed 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 Section 25 to the jazz 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 Skarface. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your organ and bought a snare.
I hear that you and your band have sold your snare and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Saccharine Trust,
The Flesh Eaters,
Lebanon Hanover,
Infiniti,
Echospace,
Isaac Hayes,
Kings Of Tomorrow,
Davy DMX,
Flipper,
Barclay James Harvest,
The Victims,
John Holt,
Barrington Levy,
Jesper Dahlback,
Bauhaus,
The Music Machine,
James Chance & The Contortions,
The Stooges,
Wally Richardson,
Delon & Dalcan,
The Fall,
Black Pus,
Oblivians,
Bobbi Humphrey,
Larry & the Blue Notes,
kango's stein massive,
Frankie Knuckles,
T. Rex,
Von Mondo,
Piero Umiliani,
Laurel Aitken,
Wighnomy Brothers & Robag Wruhme,
Negative Approach,
Curtis Mayfield,
Grandmaster Flash and the Furious Five,
Colin Newman,
Peter and Kerry,
Lee Hazlewood,
Gary Puckett & The Union Gap,
Brass Construction,
The Star Department,
The Alarm Clocks,
Shoche,
Hashim,
Brick,
Gabor Szabo,
Joey Negro,
Mr. Review,
Boz Scaggs,
Idris Muhammad,
Cheater Slicks,
Nik Kershaw,
Metal Thangz,
Masters at Work,
Deepchord,
Kaleidoscope,
Lungfish,
Brand Nubian,
Super Lover Cee & Casanova Rud,
Smog,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.