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 Liechtenstein and from Spokane.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school London 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 American Breed to the grime kids.
I played it at CBGB's.
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 Joe Finger. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Tim Buckley,
Skarface,
Gang Green,
the Germs,
Jesper Dahlback,
Boz Scaggs,
Neil Young & Crazy Horse,
The Music Machine,
T. Rex,
Pet Shop Boys,
Lebanon Hanover,
The Invisible,
Tommy Roe,
Slick Rick,
Be Bop Deluxe,
Throbbing Gristle,
Michelle Simonal,
Deadbeat,
Barbara Tucker,
Absolute Body Control,
Mo-Dettes,
Altered Images,
Joe Smooth,
The Fugs,
the Fania All-Stars,
The Sonics,
Sparks,
Crash Course in Science,
Minny Pops,
The Doors,
Lightning Bolt,
Janne Schatter,
Steve Hackett,
Sonic Youth,
The Moleskins,
Aloha Tigers,
Matthew Halsall,
David McCallum,
Anakelly,
Nico,
Wire,
The Slackers,
the Human League,
It's A Beautiful Day,
X-101,
Alton Ellis,
Glambeats Corp.,
The Monochrome Set,
Swans,
Groovy Waters,
Swell Maps,
Aural Exciters,
Sam Rivers,
The Moody Blues,
Derrick Morgan,
Nas,
The Five Americans,
ABC,
Connie Case,
Japan,
Bill Near,
Motorama, Motorama, Motorama, Motorama.
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.