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 East Timor and from Woodstock.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Manchester 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 808 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 Crooked Eye to the funk kids.
I played it at the Hacienda.
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 The Star Department. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Sly & The Family Stone,
Davy DMX,
Negative Approach,
Camron Feat. Memphis Bleek And Beenie Seigel,
James White and The Blacks,
Junior Murvin,
Lalo Schifrin,
Bizarre Inc.,
Nik Kershaw,
Visionaries,LMNO, T- Love & Iriscience,
Marmalade,
Tres Demented,
Pussy Galore,
Delon & Dalcan,
Charles Mingus,
Brass Construction,
Black Moon,
Brothers Johnson,
DeepChord presents Echospace,
Skarface,
Crash Course in Science,
The Raincoats,
Aural Exciters,
New York Dolls,
Art Ensemble Of Chicago,
Chrome,
The Stooges,
The Searchers,
Gary Puckett & The Union Gap,
The Moody Blues,
Frankie Knuckles,
Kerrie Biddell,
Howard Jones,
Eric B and Rakim,
Robert Wyatt,
Bobby Byrd,
Todd Rundgren,
The Motions,
June of 44,
Underground Resistance,
Banda Bassotti,
Kango’s Stein Massive,
Warsaw,
The Smiths,
Kerri Chandler,
The Techniques,
Magazine,
The Pop Group,
Average White Band,
T.S.O.L.,
Dead Boys,
Dark Day,
Jeff Lynne,
Faust,
The Offenders,
Lou Reed,
Aaron Thompson,
Jacob Miller,
It's A Beautiful Day,
Angry Samoans,
T. Rex,
Trumans Water,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.