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 Iceland and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Milan and Calgary.
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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Tremeloes to the rock kids.
I played it at the 40 Watt.
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 Bob Dylan. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
U.S. Maple,
Tom Boy,
The Walker Brothers,
Minor Threat,
Blancmange,
Duran Duran,
Marcia Griffiths,
The Evens,
Bobbi Humphrey,
David Axelrod,
Infiniti,
Sun Ra,
Eli Mardock,
Lindisfarne,
Scan 7,
Agitation Free,
Niagra,
Dark Day,
The Names,
Teenage Jesus and the Jerks,
Joe Finger,
Dorothy Ashby,
Steve Hackett,
Babytalk,
Angry Samoans,
Flipper,
Moss Icon,
Rotary Connection,
Mr. Review,
Das Ding,
The Toasters,
James White and The Blacks,
Mo-Dettes,
Erykah Badu,
David Bowie,
Althea and Donna,
Wasted Youth,
Kaleidoscope,
Grandmaster Flash,
Pulsallama,
Judy Mowatt,
The Move,
Kenny Larkin,
Rod Modell,
Red Lorry Yellow Lorry,
Bang On A Can,
Kauko Röyhkä ja Narttu,
New Age Steppers,
Nick Fraelich,
The Gories,
Rapeman,
Frankie Knuckles,
Wolf Eyes,
Mark Hollis,
Jeff Mills,
Nas,
Sun Ra Arkestra,
Traffic Nightmare,
Magazine,
The Pop Group,
Kevin Saunderson,
Au Pairs,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.