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 Zimbabwe and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Delhi 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 808 sounds with much patience.
I was there when Holger Czukay 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 Johnny Osbourne to the dance kids.
I played it at the Astoria.
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 Alarm Clocks. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Rufus Thomas,
The Fortunes,
Yaz,
The Flesh Eaters,
Marcia Griffiths,
The New Christs,
Pere Ubu,
Mad Mike,
Von Mondo,
Skriet,
K-Klass,
Can,
The Invisible,
The Doors,
Maurizio,
Jawbox,
Goldenarms,
Colin Newman,
Brass Construction,
Janne Schatter,
Lou Reed & Metallica,
The Gladiators,
Lonnie Liston Smith,
Oneida,
Quando Quango,
H. Thieme,
Urselle,
Livin' Joy,
The Kinks,
Saccharine Trust,
Dead Boys,
David McCallum,
The Index,
Junior Murvin,
Jacques Brel,
The Birthday Party,
Teenage Jesus and the Jerks,
Reagan Youth,
In Retrospect,
Curtis Mayfield,
Soul II Soul,
A Flock of Seagulls,
Wighnomy Brothers & Robag Wruhme,
Bauhaus,
Groovy Waters,
Eric Copeland,
Roger Hodgson,
Lucky Dragons,
Das Ding,
Quantec,
Boogie Down Productions,
Bizarre Inc.,
Red Lorry Yellow Lorry,
The Fire Engines,
Main Source,
Bootsy's Rubber Band,
X-102,
Ultravox,
Shoche,
Sound Behaviour,
Sällskapet,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.