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 Lithuania and from Paris.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Peter and Kerry to the disco kids.
I played it at Cafe Wha.
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 Move. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every The Offenders 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth 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?
Terry Callier,
Severed Heads,
The Saints,
Joe Finger,
Bronski Beat,
The Young Rascals,
The Techniques,
Bizarre Inc.,
Prince Buster,
In Retrospect,
Japan,
Boz Scaggs,
Jawbox,
Drexciya,
Kerrie Biddell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers,
Suburban Knight,
Lee Hazlewood,
U.S. Maple,
The Stooges,
Public Image Ltd.,
Althea and Donna,
Thinking Fellers Union Local 282,
Rhythm & Sound,
The Golliwogs,
Crooked Eye,
Godley & Creme,
David Bowie,
Andrew Hill,
Unwound,
Aaron Thompson,
Yazoo,
Byron Stingily,
The Seeds,
Erykah Badu,
Marmalade,
Mantronix,
Big Daddy Kane,
Laurel Aitken,
The Monks,
Derrick Morgan,
The Gun Club,
Tom Boy,
The Offenders,
Lonnie Liston Smith,
Ponytail,
Ronan,
Alphaville,
Janne Schatter,
The Men They Couldn't Hang,
Alison Limerick,
Ultra Naté,
Kas Product,
Reagan Youth,
Ultravox,
Rakim,
Depeche Mode,
Bad Manners,
OOIOO,
Amon Düül II,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.