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 Solomon Islands and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Columbus 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 Connie Case to the funk kids.
I played it at the Crocodile.
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 Johnny Osbourne. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Beasts of Bourbon,
the Germs,
Crash Course in Science,
Lizzy Mercier Descloux,
Ronnie Foster,
Sun Ra Arkestra,
Deadbeat,
Angels of Light & Akron/Family,
Traffic Nightmare,
Fort Wilson Riot,
The Raincoats,
Alphaville,
the Human League,
Zero Boys,
Boz Scaggs,
Quantec,
The Zeros,
Oblivians,
Orchestral Manoeuvres in the Dark,
The Litter,
Heaven 17,
MDC,
Chrome,
Moss Icon,
The Electric Prunes,
Gichy Dan,
Sun City Girls,
Al Stewart,
Panda Bear,
Thompson Twins,
Charles Mingus,
Surgeon,
Unrelated Segments,
Qualms,
Radiopuhelimet,
Grandmaster Flash,
The Human League,
Symarip,
Bootsy Collins,
Vladislav Delay,
Niagra,
Parry Music,
Johnny Clarke,
Yusef Lateef,
World's Most,
De La Soul & Jungle Brothers,
cv313,
Cymande,
U.S. Maple,
Louis and Bebe Barron,
Bush Tetras,
Anthony Braxton,
Althea and Donna,
the Fania All-Stars,
Stiv Bators,
The Smiths,
Bauhaus,
Con Funk Shun,
ABBA, ABBA, ABBA, ABBA.
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.