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 El Salvador and from Paris.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Donald Fagen 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 The Beau Brummels to the electroclash kids.
I played it at the 40 Watt.
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 Hoover. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
8 Eyed Spy,
The Blackbyrds,
R.M.O.,
Mr. Review,
Pulsallama,
Royal Trux,
Faust,
Dual Sessions,
The Names,
Kaleidoscope,
F. McDonald,
Heavy D & The Boyz,
Leonard Cohen,
Pussy Galore,
Iggy Pop,
Hot Snakes,
Pharaoh Sanders and the Fire Engines,
Marc Almond,
Ultramagnetic MC's,
Kevin Saunderson,
Robert Wyatt,
Bronski Beat,
Matthew Bourne,
The Wake,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fifty Foot Hose,
Hashim,
The Doors,
Duran Duran,
Selector Dub Narcotic,
Robert Hood,
Loose Ends,
Colin Newman,
Suburban Knight,
The West Coast Pop Art Experimental Band,
Notorious BIG live in Amsterdam,
Don Cherry,
Cymande,
Drexciya,
The Sound,
Godley & Creme,
Young Marble Giants,
The Skatalites,
Robert Görl,
Make Up,
Mars,
Rakim,
Bill Wells,
Infiniti,
Gang of Four,
The Fire Engines,
Amon Düül,
Brothers Johnson,
Aswad,
Marcia Griffiths,
Dennis Brown,
Arthur Verocai,
Mo-Dettes,
Crash Course in Science,
Bauhaus,
Kenny Larkin,
Deepchord,
Excepter,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.