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 Malaysia and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 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 The Neon Judgement to the disco 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 Misunderstood. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
The Move,
Fad Gadget,
Marine Girls,
Ultravox,
Rufus Thomas,
Johnny Osbourne,
Graham Central Station,
Sight & Sound,
Ludus,
Unrelated Segments,
The Moody Blues,
The Red Krayola,
Arab on Radar,
The Shadows of Knight,
Scratch Acid,
Camberwell Now,
Chris & Cosey,
UT,
De La Soul & Jungle Brothers,
Bad Manners,
Tears for Fears,
The Sound,
The Moleskins,
Skriet,
Bluetip,
Boogie Down Productions,
Bobby Sherman,
Ronan,
Darondo,
Sarah Menescal,
Grandmaster Flash,
The Fire Engines,
Bronski Beat,
Isaac Hayes,
Depeche Mode,
Jeff Mills,
MC5,
Monolake,
Dawn Penn,
Jesper Dahlbäck,
Supertramp,
Livin' Joy,
X-Ray Spex,
Lower 48,
Neil Young,
The Residents,
Lightning Bolt,
Harpers Bizarre,
Terrestrial Tones,
Loose Ends,
Pete Rock & C.L. Smooth,
The Motions,
Laurel Aitken,
Siglo XX,
Glenn Branca,
The Doors,
Mars,
The Fortunes,
The J.B.'s,
James White and The Blacks,
The Remains, The Remains, The Remains, The Remains.
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.