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 Croatia and from Lille.
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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 Eli Mardock to the techno kids.
I played it at the 40 Watt.
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 Mummies. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Index 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 '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Bauhaus,
X-102,
The Blackbyrds,
Tommy Roe,
Barry Ungar,
Altered Images,
John Lydon,
Lonnie Liston Smith,
Crash Course in Science,
Throbbing Gristle,
Darondo,
D'Angelo,
Excepter,
Quadrant,
The Neon Judgement,
Shuggie Otis,
Soulsonic Force,
Archie Shepp,
The American Breed,
Pulsallama,
Young Marble Giants,
The Grass Roots,
Barclay James Harvest,
Robert Hood,
Country Teasers,
Pet Shop Boys,
E-Dancer,
Strawberry Alarm Clock,
Adolescents,
Suicide,
Cheater Slicks,
Johnny Clarke,
Toni Rubio,
The Peanut Butter Conspiracy,
Rapeman,
Sad Lovers and Giants,
Oblivians,
Sun Ra Arkestra,
The Kinks,
Robert Wyatt,
AZ,
The Moleskins,
Isaac Hayes,
Junior Murvin,
Cluster,
Technova,
Outsiders,
A Flock of Seagulls,
Rosa Yemen,
ABBA,
Jimmy McGriff,
Livin' Joy,
Chris & Cosey,
Gil Scott Heron,
Lou Reed & Metallica,
The Music Machine,
Delta 5,
Slick Rick,
Public Image Ltd.,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.