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 Bangladesh and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Flipper to the grime kids.
I played it at the Roxy.
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 Blossom Toes. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
This Heat,
Khruangbin,
Oppenheimer Analysis,
Tears for Fears,
Ossler,
Dorothy Ashby,
De La Soul & Jungle Brothers,
Fela Kuti,
Electric Light Orchestra,
MDC,
Roy Ayers Ubiquity,
Arcadia,
Wighnomy Brothers & Robag Wruhme,
Q and Not U,
Grey Daturas,
The Fire Engines,
Amon Düül,
Eyeless In Gaza,
Joey Negro,
Bush Tetras,
The Sisters of Mercy,
The Fuzztones,
Masters at Work,
Rhythm & Sound,
Sixth Finger,
David Bowie,
Fifty Foot Hose,
Neil Young & Crazy Horse,
Aloha Tigers,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
Kerri Chandler,
Amon Düül II,
Wally Richardson,
Pierre Henry,
Jesper Dahlbäck,
X-102,
Wolf Eyes,
Nas,
Slave,
Whodini,
Avey Tare's Slasher Flicks,
Maurizio,
Y Pants,
Strawberry Alarm Clock,
The Saints,
Arab on Radar,
Donald Byrd,
Black Sheep,
H. Thieme,
Oneida,
DJ Sneak,
Dawn Penn,
Visage,
10cc,
the Germs,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.