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 Malaysia and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school London 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 mellotron 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 Amon Düül to the jazz kids.
I played it at CBGB's.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Arthur Verocai,
Terrestrial Tones,
Blancmange,
Gil Scott-Heron and Jamie xx,
Lightning Bolt,
Adolescents,
Notorious BIG live in Amsterdam,
Boogie Down Productions,
Oppenheimer Analysis,
The Smiths,
The Red Krayola,
Derrick May,
The Divine Comedy,
Lee Hazlewood,
Amon Düül,
Slick Rick,
Ultra Naté,
The United States of America,
Gregory Isaacs,
Thompson Twins,
Negative Approach,
U.S. Maple,
Joyce Sims,
June of 44,
Grey Daturas,
The Dead C,
Altered Images,
Crash Course in Science,
The Evens,
Tres Demented,
Ultravox,
Intrusion,
Gerry Rafferty,
The Alarm Clocks,
Bronski Beat,
Sonic Youth,
Shuggie Otis,
Magazine,
Sarah Menescal,
Henry Cow,
Oblivians,
Louis and Bebe Barron,
James Chance & The Contortions,
Radiopuhelimet,
Ohio Players,
Harmonia,
Unrelated Segments,
DNA,
Harpers Bizarre,
Jeff Mills,
Kool Moe Dee,
Subhumans,
EPMD,
Dennis Brown,
The Doobie Brothers,
Liaisons Dangereuses,
Au Pairs,
Tropical Tobacco,
Underground Resistance,
MC5,
Lou Christie,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.