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 Kyrgyzstan and from Copenhagen.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school New York 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 clarinet 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 David Axelrod to the rap kids.
I played it at Trash.
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 Kevin Saunderson. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Fall,
Altered Images,
Tom Boy,
Stereo Dub,
Panda Bear,
Pere Ubu,
Marcia Griffiths,
Interpol,
The Toasters,
Ituana,
The Cramps,
The Gladiators,
La Düsseldorf,
The Move,
Pierre Henry,
Brass Construction,
Pulsallama,
The Dead C,
James White and The Blacks,
Cheater Slicks,
Unwound,
Country Joe & The Fish,
cv313,
The West Coast Pop Art Experimental Band,
Fad Gadget,
Colin Newman,
Shuggie Otis,
Mo-Dettes,
The Associates,
Magazine,
Heavy D & The Boyz,
Camberwell Now,
Ultravox,
The Real Kids,
Second Layer,
Yazoo,
Moebius,
Isaac Hayes,
Bobby Womack,
Yusef Lateef,
Swell Maps,
Flipper,
Nik Kershaw,
DJ Style,
Mars,
Mantronix,
Pantaleimon,
Ludus,
June Days,
Bobbi Humphrey,
Lightning Bolt,
Crash Course in Science,
the Slits,
Toni Rubio,
The Barracudas,
Peter & Gordon,
Erasure,
Ajijia Myrayebe,
Subhumans,
Marc Almond,
Intrusion,
Kevin Saunderson,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.