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 Italy and from Bremen.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Taipei 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 a-ha to the rock kids.
I played it at Cafe Wha.
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 Danielle Patucci. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Jeru the Damaja,
Beasts of Bourbon,
Negative Approach,
Scratch Acid,
Cabaret Voltaire,
Tropical Tobacco,
This Heat,
Stetsasonic,
Lee Hazlewood,
Drive Like Jehu,
Andrew Hill,
R.M.O.,
The Smiths,
Graham Central Station,
Au Pairs,
Selector Dub Narcotic,
the Human League,
ABBA,
Dawn Penn,
Fluxion,
Marc Almond,
The Zeros,
Bauhaus,
Scott Walker + Sunn O))),
Kool G Rap & DJ Polo,
Dave Gahan,
Crooked Eye,
Main Source,
Gichy Dan,
Absolute Body Control,
Idris Muhammad,
Bizarre Inc.,
Siglo XX,
Index,
Minor Threat,
Kenny Larkin,
Isaac Hayes,
The Music Machine,
New Age Steppers,
Joe Finger,
Howard Jones,
Marvin Gaye,
Animal Collective,
Josef K,
Grey Daturas,
The Five Americans,
Gregory Isaacs,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Blancmange,
Stockholm Monsters,
Oblivians,
Tommy Roe,
The Kinks,
Trumans Water,
Vladislav Delay,
Sam Rivers,
The Neon Judgement,
London Community Gospel Choir,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.