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 Ghana and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar 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 Moody Blues to the funk kids.
I played it at the Hacienda.
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 The Velvet Underground. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Basic Channel 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 a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Loose Ends,
Half Japanese,
David Axelrod,
Rhythim Is Rhythim,
The Red Krayola,
Guru Guru,
Strawberry Alarm Clock,
Gil Scott Heron,
Theoretical Girls,
Roy Ayers Ubiquity,
Qualms,
Duran Duran,
Mission of Burma,
Thinking Fellers Union Local 282,
Excepter,
Warsaw,
Mo-Dettes,
The Invisible,
Crash Course in Science,
Aaron Thompson,
Bauhaus,
Jesper Dahlback,
Unrelated Segments,
Quadrant,
Neil Young,
The Peanut Butter Conspiracy,
The Moleskins,
Wasted Youth,
Sound Behaviour,
Camouflage,
Suburban Knight,
Avey Tare & Kría Brekkan,
U.S. Maple,
Metal Thangz,
the Association,
Scientists,
Eric Copeland,
Spandau Ballet,
Chrome,
The Trojans,
Pole,
Sam Rivers,
Hasil Adkins,
The Skatalites,
Lightning Bolt,
Arcadia,
Bluetip,
Roger Hodgson,
Lyres,
London Community Gospel Choir,
Curtis Mayfield,
The Residents,
Boz Scaggs,
The Moody Blues,
Eyeless In Gaza,
Pierre Henry,
Fort Wilson Riot,
Saccharine Trust,
Amon Düül II,
The Names,
Lalo Schifrin,
Jawbox, Jawbox, Jawbox, Jawbox.
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.