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 Djibouti and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1977.
I'm losing my edge.
To all the kids in London and Glasgow.
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 güiro 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 Nick Fraelich to the rock kids.
I played it at CBGB's.
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 Procol Harum. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Supertramp 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Walker Brothers,
the Association,
This Heat,
Au Pairs,
Strawberry Alarm Clock,
Todd Rundgren,
The Associates,
Yellowson,
Big Daddy Kane,
Sällskapet,
Barrington Levy,
X-Ray Spex,
Theoretical Girls,
Hasil Adkins,
These Immortal Souls,
Lucky Dragons,
Warsaw,
Throbbing Gristle,
Lou Reed,
Harmonia,
Bauhaus,
Pole,
Avey Tare,
Jacques Brel,
The Buckinghams,
Gang Green,
The Black Dice,
Camberwell Now,
Unwound,
Scott Walker + Sunn O))),
Kaleidoscope,
Minutemen,
Minny Pops,
Deutsch Amerikanische Freundschaft,
Spoonie Gee,
Roy Ayers Ubiquity,
Pet Shop Boys,
Graham Central Station,
The Barracudas,
Country Teasers,
Gabor Szabo,
The Alarm Clocks,
AZ,
Easy Going,
MC5,
Agitation Free,
Ultravox,
John Lydon,
Laurel Aitken,
UT,
The Real Kids,
Youth Brigade,
D'Angelo,
Louis and Bebe Barron,
Lizzy Mercier Descloux,
Porter Ricks,
Johnny Clarke,
Underground Resistance,
Thinking Fellers Union Local 282,
Peter and Kerry,
Eurythmics,
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.