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 Taiwan and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Seoul 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 The Walker Brothers to the jazz 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 Sly & The Family Stone. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Smiths 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Curtis Mayfield,
Niagra,
Pere Ubu,
Marcia Griffiths,
Black Bananas,
Nas,
Ultimate Spinach,
Marc Almond,
Minnie Riperton,
World's Most,
Röyhkä ja Rättö ja Lehtisalo,
KRS-One,
The Durutti Column,
Laurel Aitken,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Flag,
Pantytec,
Soulsonic Force,
Peter & Gordon,
Mission of Burma,
Thompson Twins,
Guru Guru,
Michelle Simonal,
The Divine Comedy,
Jeff Lynne,
John Foxx,
Talk Talk,
Girls At Our Best!,
Black Sheep,
Sandy B,
A Flock of Seagulls,
Whodini,
Skriet,
Index,
The Remains,
Sam Rivers,
The Fortunes,
Stereo Dub,
Orchestral Manoeuvres in the Dark,
The Busters,
Wolf Eyes,
The Velvet Underground,
Terror Squad Feat. Camron,
The Misunderstood,
The Slackers,
Black Moon,
The Smiths,
Robert Hood,
Kauko Röyhkä ja Narttu,
Eddi Front,
H. Thieme,
Scan 7,
Hasil Adkins,
UT,
Drexciya,
JFA,
Television Personalities,
Delon & Dalcan,
Unwound,
Harry Pussy,
Derrick Morgan,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.