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 United States and from Edmonton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Houston and Lille.
I'm losing my edge to the art-school Mumbai 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 Gang Gang Dance to the grime 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 CMW. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Matthew Bourne 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Tropical Tobacco,
Tears for Fears,
Curtis Mayfield,
Bronski Beat,
The Mojo Men,
The Smiths,
Scott Walker,
Masters at Work,
Flamin' Groovies,
The Grass Roots,
Essential Logic,
Lou Christie,
Von Mondo,
Nico,
Gang Green,
X-102,
Sugar Minott,
Excepter,
Joyce Sims,
The Dave Clark Five,
Sunsets and Hearts,
Röyhkä ja Rättö ja Lehtisalo,
Wolf Eyes,
Second Layer,
Deepchord,
Motorama,
Wings,
Cameo,
The Fall,
Moby Grape,
Franke,
The Remains,
David Axelrod,
Rosa Yemen,
Sparks,
Minnie Riperton,
Organ,
Magazine,
The Pop Group,
The Fire Engines,
ABBA,
Hardrive,
Brass Construction,
London Community Gospel Choir,
The Flesh Eaters,
The Fuzztones,
Sam Rivers,
The Monks,
The Black Dice,
Zapp,
Henry Cow,
Supertramp,
One Last Wish,
Erasure,
Unrelated Segments,
DJ Sneak,
Big Daddy Kane,
Boredoms,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.