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 Slovakia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Shuggie Otis to the crunk 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 Lakeside. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Magazine 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Slave,
Aloha Tigers,
Harmonia,
Fugazi,
The Dirtbombs,
The Cramps,
Faraquet,
Radiohead,
Jerry Gold Smith,
Ice-T,
Avey Tare,
The Count Five,
Theoretical Girls,
Sugar Minott,
Fela Kuti,
Wighnomy Brothers & Robag Wruhme,
the Swans,
Byron Stingily,
Symarip,
Lucky Dragons,
Joensuu 1685,
Con Funk Shun,
The Gories,
John Holt,
Pete Rock & C.L. Smooth,
Barclay James Harvest,
Sad Lovers and Giants,
Brothers Johnson,
Livin' Joy,
Nils Olav,
Thompson Twins,
L. Decosne,
The Angels of Light,
The Vogues,
Goldenarms,
Desert Stars,
The Invisible,
Avey Tare & Kría Brekkan,
Brass Construction,
June Days,
Louis and Bebe Barron,
H. Thieme,
Bootsy Collins,
Nas,
Crooked Eye,
Monolake,
Blake Baxter,
Absolute Body Control,
Maurizio,
R.M.O.,
The Fugs,
Cymande,
The Residents,
Pulsallama,
Skarface,
Tears for Fears,
Peter & Gordon,
Ten City,
The Seeds,
Smog,
Soulsonic Force,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.