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 Pakistan and from Manila.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Eddi Front to the electroclash 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 One Last Wish. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Cluster,
Moby Grape,
Mr. Review,
Man Eating Sloth,
Sparks,
The Residents,
Sällskapet,
Man Parrish,
Robert Görl,
Super Lover Cee & Casanova Rud,
Sarah Menescal,
Gong,
The Searchers,
Quadrant,
Oneida,
Eric Copeland,
Sonny Sharrock,
David Axelrod,
Parry Music,
Robert Hood,
John Coltrane,
Vladislav Delay,
Dark Day,
The Electric Prunes,
Marine Girls,
Spandau Ballet,
Leonard Cohen,
B.T. Express,
Quando Quango,
Peter and Kerry,
Crash Course in Science,
Kas Product,
Yellowson,
Tubeway Army,
Lindisfarne,
Bobby Womack,
Eden Ahbez,
Black Moon,
Bobby Hutcherson,
the Bar-Kays,
Jeff Lynne,
Basic Channel,
Cybotron,
Flash Fearless,
Porter Ricks,
Reuben Wilson,
CMW,
Sun City Girls,
Accadde A,
Harry Pussy,
JFA,
The Selecter,
Pere Ubu,
James Chance & The Contortions,
Jerry Gold Smith,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
It's A Beautiful Day,
Rufus Thomas,
Q65,
Kings Of Tomorrow,
cv313, cv313, cv313, cv313.
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.