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 Jordan and from Beijing.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 Laurel Aitken to the dance kids.
I played it at the 40 Watt.
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 Gil Scott Heron. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Quando Quango,
Harmonia,
X-Ray Spex,
The Fall,
London Community Gospel Choir,
Eurythmics,
Cymande,
Ohio Players,
Arab on Radar,
JFA,
Reuben Wilson,
the Soft Cell,
Hardrive,
Outsiders,
Funky Four + One,
The Buckinghams,
Loose Ends,
Das Ding,
Wally Richardson,
Stetsasonic,
Roy Ayers Ubiquity,
cv313,
Tres Demented,
Archie Shepp,
New Age Steppers,
Moby Grape,
Rod Modell,
Rufus Thomas,
Lyres,
Terrestrial Tones,
Q65,
Kevin Saunderson,
Gary Puckett & The Union Gap,
John Holt,
Joe Smooth,
Bob Dylan,
Spoonie Gee,
Beasts of Bourbon,
Ash Ra Tempel,
Nation of Ulysses,
the Bar-Kays,
Glambeats Corp.,
Barrington Levy,
Althea and Donna,
The Names,
Audionom,
Bill Near,
Crispian St. Peters,
Orchestral Manoeuvres in the Dark,
The Stooges,
Lizzy Mercier Descloux,
Eric Dolphy,
Yusef Lateef,
Rites of Spring,
Clear Light,
Kauko Röyhkä ja Narttu,
Agitation Free,
This Heat,
Ajijia Myrayebe,
Andrew Ashong & Theo Parrish,
Man Parrish,
Aaron Thompson,
Terry Callier,
the Sonics, the Sonics, the Sonics, the Sonics.
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.