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 Qatar and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1973.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Calgary 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Camouflage to the techno kids.
I played it at the Troubador.
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 Remains. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Jerry's Kids,
Sun Ra,
Glenn Branca,
The Remains,
Kurtis Blow,
Marmalade,
David Axelrod,
the Slits,
T.S.O.L.,
Mars,
Bootsy Collins,
Alton Ellis,
Sun City Girls,
Gil Scott Heron,
The Evens,
Bauhaus,
Gang Green,
KRS-One,
Girls At Our Best!,
The Modern Lovers,
JFA,
PIL,
Underground Resistance,
Major Organ And The Adding Machine,
Jimmy McGriff,
Jawbox,
Loose Ends,
The American Breed,
Parry Music,
Robert Hood,
Brand Nubian,
Q65,
Hasil Adkins,
Terrestrial Tones,
the Association,
Negative Approach,
Funky Four + One,
R.M.O.,
The Buckinghams,
Ice-T,
The Victims,
Arab on Radar,
Average White Band,
B.T. Express,
Organ,
Althea and Donna,
Quando Quango,
Liaisons Dangereuses,
Country Teasers,
Hot Snakes,
The Moleskins,
Fat Boys,
Livin' Joy,
Zero Boys,
Ornette Coleman,
Howard Jones,
A Flock of Seagulls,
The Young Rascals,
Cal Tjader,
Make Up, Make Up, Make Up, Make Up.
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.