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 Colombia and from Cairo.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Manila 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 organ 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 Alton Ellis to the crunk kids.
I played it at the Troubador.
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 Moss Icon. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Kerri Chandler,
James Chance & The Contortions,
the Germs,
Unwound,
Siouxsie and the Banshees,
Barrington Levy,
Pierre Henry,
D'Angelo,
Kurtis Blow,
June of 44,
Audionom,
Bauhaus,
The Fire Engines,
Jesper Dahlback,
Pet Shop Boys,
Larry & the Blue Notes,
The Jesus and Mary Chain,
Absolute Body Control,
Roger Hodgson,
Flamin' Groovies,
Scientists,
Tom Boy,
Pylon,
Sister Nancy,
The Zeros,
Supertramp,
kango's stein massive,
The Offenders,
the Association,
Josef K,
The Shadows of Knight,
Metal Thangz,
Nirvana,
L. Decosne,
New York Dolls,
Nation of Ulysses,
The Tremeloes,
Harpers Bizarre,
Andrew Hill,
K-Klass,
Nick Fraelich,
The Velvet Underground,
JFA,
The Buckinghams,
The Real Kids,
The Music Machine,
Tubeway Army,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Severed Heads,
Dual Sessions,
Sun City Girls,
Liliput,
Sun Ra Arkestra,
The Index,
It's A Beautiful Day,
Erasure,
Bizarre Inc.,
Model 500,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.