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 Solomon Islands and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Madrid 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 theremin 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 The Sound to the rap kids.
I played it at Cafe Wha.
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 Supertramp. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Vaughan Mason & Crew,
Black Flag,
Todd Terry,
Jerry's Kids,
Larry & the Blue Notes,
Symarip,
New Order,
Marc Almond,
Wire,
Albert Ayler,
Sonic Youth,
The Standells,
Fat Boys,
Skaos,
Saccharine Trust,
Cecil Taylor,
The Stooges,
Gil Scott Heron,
Wolf Eyes,
Traffic Nightmare,
Public Enemy,
Interpol,
Rosa Yemen,
The Misunderstood,
The Toasters,
Scan 7,
The Happenings,
Radio Birdman,
Judy Mowatt,
The Alarm Clocks,
Patti Smith,
Crooked Eye,
48th St. Collective,
E-Dancer,
The Gories,
D'Angelo,
T. Rex,
Shuggie Otis,
Ultramagnetic MC's,
Dennis Brown,
Kerrie Biddell,
Duran Duran,
Hasil Adkins,
The Martian,
Barry Ungar,
Crispy Ambulance,
Suburban Knight,
Blancmange,
The Remains,
Sam Rivers,
Pharoah Sanders,
Funky Four + One,
Eric Dolphy,
Sixth Finger,
Glenn Branca,
Nick Fraelich,
Au Pairs,
The Monochrome Set,
Hot Snakes,
Rites of Spring,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.