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 Malawi and from Glasgow.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Bobby Hutcherson to the rock kids.
I played it at the Astoria.
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 Strawberry Alarm Clock. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
The Blackbyrds,
Terry Callier,
Tommy Roe,
Liliput,
Derrick May,
June Days,
the Association,
Yaz,
Cybotron,
Man Parrish,
The Mighty Diamonds,
Yellowson,
Q65,
The Raincoats,
Average White Band,
Funkadelic,
The Moody Blues,
The Electric Prunes,
Marc Almond,
Cal Tjader,
Kool Moe Dee,
Loose Ends,
Suicide,
Stiv Bators,
The Peanut Butter Conspiracy,
Susan Cadogan,
Mary Jane Girls,
the Fania All-Stars,
Peter and Kerry,
Darondo,
The Monks,
The Cosmic Jokers,
Little Man,
Grey Daturas,
Robert Görl,
The West Coast Pop Art Experimental Band,
Clear Light,
Pierre Henry,
Minutemen,
The Red Krayola,
Nick Cave & The Bad Seeds,
Moby Grape,
Joe Finger,
Graham Central Station,
The Beau Brummels,
Negative Approach,
Quantec,
Pylon,
Prince Buster,
The Fire Engines,
Intrusion,
Warsaw,
Vladislav Delay,
Simply Red,
Crooked Eye,
Kauko Röyhkä ja Narttu,
10cc,
Altered Images,
Deepchord,
Andrew Hill,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.