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 Algeria and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Hong Kong 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 Lalann to the dance kids.
I played it at the Crocodile.
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 Chris & Cosey. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Talk Talk,
The New Christs,
E-Dancer,
Quadrant,
The Five Americans,
The Cowsills,
Marcia Griffiths,
Sällskapet,
Carl Craig,
The Fire Engines,
Surgeon,
Alice Coltrane,
Delta 5,
Mars,
Audionom,
Scientists,
Peter Gordon & Love of Life Orchestra,
Todd Rundgren,
Arcadia,
Lee Hazlewood,
Crispian St. Peters,
Leonard Cohen,
Brass Construction,
Man Parrish,
Crooked Eye,
Ultramagnetic MC's,
Loose Ends,
Dawn Penn,
Simply Red,
Camberwell Now,
Moebius,
Skaos,
The Doors,
Brand Nubian,
Kango’s Stein Massive,
Bad Manners,
The Slits,
AZ,
Scott Walker,
David McCallum,
The Residents,
Dave Gahan,
Hashim,
Louis and Bebe Barron,
Stockholm Monsters,
Thee Headcoats,
Grandmaster Flash and the Furious Five,
Harry Pussy,
Lightning Bolt,
Gichy Dan,
Ice-T,
The Buckinghams,
Sad Lovers and Giants,
Little Man,
Nils Olav,
Lonnie Liston Smith,
Aural Exciters,
The Seeds,
The American Breed,
June Days,
Minny Pops,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.