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 Monaco and from London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the grime kids.
I played it at the Spitz.
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 Idris Muhammad. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Dual Sessions,
Essential Logic,
Eddi Front,
Franke,
Terrestrial Tones,
Siouxsie and the Banshees,
The Blues Magoos,
JFA,
Dead Boys,
Pussy Galore,
Gong,
Matthew Halsall,
The West Coast Pop Art Experimental Band,
Danielle Patucci,
Susan Cadogan,
Colin Newman,
Grandmaster Flash,
Crooked Eye,
The Alarm Clocks,
Sarah Menescal,
The Velvet Underground,
Howard Jones,
June of 44,
Nik Kershaw,
The Doobie Brothers,
Television,
Pagans,
The Men They Couldn't Hang,
Popol Vuh,
The Offenders,
The Happenings,
Arab on Radar,
Ken Boothe,
Peter & Gordon,
Slick Rick,
Shuggie Otis,
Quadrant,
Gang Green,
Lou Reed & Metallica,
Robert Hood,
Hashim,
London Community Gospel Choir,
Saccharine Trust,
The United States of America,
Girls At Our Best!,
Faust,
Amazonics,
Lightning Bolt,
Harry Pussy,
Bobby Womack,
Yusef Lateef,
Urselle,
Barbara Tucker,
FM Einheit,
Joensuu 1685,
Marshall Jefferson,
Outsiders,
Sällskapet,
Gastr Del Sol,
Alison Limerick,
The Divine Comedy,
The Gap Band,
Bizarre Inc.,
The Dead C, The Dead C, The Dead C, The Dead C.
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.