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 New Zealand and from Toronto.
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 1972.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 American Breed to the punk kids.
I played it at the Spitz.
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 Bizarre Inc.. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Bob Dylan 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Graham Central Station,
Alison Limerick,
Tears for Fears,
Gong,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane,
Main Source,
Eli Mardock,
Con Funk Shun,
Bush Tetras,
Panda Bear,
Minor Threat,
The Five Americans,
The J.B.'s,
Tomorrow,
Deadbeat,
Harpers Bizarre,
Circle Jerks,
David Axelrod,
Trumans Water,
Section 25,
Throbbing Gristle,
Wasted Youth,
The Kinks,
Cal Tjader,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Barrington Levy,
Mantronix,
The Wake,
Letta Mbulu,
Pole,
Bobby Sherman,
Sex Pistols,
The Offenders,
Tim Buckley,
K-Klass,
Eric B and Rakim,
Tubeway Army,
London Community Gospel Choir,
The Gladiators,
Robert Wyatt,
The Raincoats,
Sandy B,
The Fugs,
James Chance & The Contortions,
Gian Franco Pienzio,
Ultimate Spinach,
Connie Case,
Suburban Knight,
Ice-T,
the Slits,
Camron Feat. Jay Z And Juelz,
Hoover,
Gastr Del Sol,
Lou Reed & Metallica,
Youth Brigade,
Morten Harket,
Bluetip,
Art Ensemble Of Chicago,
Captain Beefheart & His Magic Band,
Gichy Dan,
DJ Sneak,
Depeche Mode,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.