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 Venezuela and from Johannesburg.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Bremen 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 mellotron 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 UT to the punk 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 The Slits. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
the Soft Cell,
Urselle,
cv313,
Todd Rundgren,
Public Enemy,
Au Pairs,
New Order,
Fad Gadget,
Deepchord,
Patti Smith,
Byron Stingily,
Quadrant,
Red Lorry Yellow Lorry,
Warren Ellis,
Warsaw,
Lou Reed & John Cale,
Radio Birdman,
The Walker Brothers,
The Skatalites,
Sly & The Family Stone,
Q and Not U,
ABBA,
Rakim,
The Neon Judgement,
Morten Harket,
Sister Nancy,
Guru Guru,
David Bowie,
Mary Jane Girls,
Mantronix,
Henry Cow,
June Days,
Notorious Big And Bone Thugs,
Max Romeo,
Gil Scott-Heron and Jamie xx,
Kool Moe Dee,
Traffic Nightmare,
Magazine,
Massinfluence,
Talk Talk,
Gabor Szabo,
ABC,
The West Coast Pop Art Experimental Band,
Liaisons Dangereuses,
Gong,
The Birthday Party,
Lizzy Mercier Descloux,
Goldenarms,
Loose Ends,
Schoolly D,
The Busters,
Funkadelic,
Con Funk Shun,
Dual Sessions,
The Velvet Underground,
Curtis Mayfield,
Duran Duran,
Delon & Dalcan,
Michelle Simonal,
Letta Mbulu,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.