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 Kazakhstan and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Pop Group to the dance 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 Aloha Tigers. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Rakim 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Gang Green,
James White and The Blacks,
OOIOO,
A Flock of Seagulls,
Crooked Eye,
Gabor Szabo,
Ronan,
kango's stein massive,
Goldenarms,
Larry & the Blue Notes,
The Fugs,
Sonic Youth,
Eve St. Jones,
Sugar Minott,
Eyeless In Gaza,
The Chocolate Watch Band,
Ponytail,
Eden Ahbez,
Laurel Aitken,
John Holt,
Spoonie Gee,
Pere Ubu,
Interpol,
Aloha Tigers,
Eurythmics,
Marine Girls,
Japan,
Livin' Joy,
Pharoah Sanders,
Lee Hazlewood,
Soulsonic Force,
Pharaoh Sanders and the Fire Engines,
Ultramagnetic MC's,
Super Lover Cee & Casanova Rud,
Peter & Gordon,
One Last Wish,
Oblivians,
Pulsallama,
The Real Kids,
Neil Young & Crazy Horse,
Bootsy Collins,
The Saints,
The Neon Judgement,
Surgeon,
The Dirtbombs,
James Chance & The Contortions,
Desert Stars,
Skarface,
Tears for Fears,
The Electric Prunes,
Au Pairs,
K-Klass,
David Axelrod,
Johnny Osbourne,
The Moleskins,
Toni Rubio,
The Busters,
Jerry Gold Smith,
Silicon Teens,
Morten Harket,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.