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 Somalia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Pagans to the rap kids.
I played it at the Hacienda.
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 H. Thieme tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Marc Almond,
Slick Rick,
Alison Limerick,
Black Bananas,
Black Moon,
Johnny Osbourne,
Pulsallama,
Terrestrial Tones,
Young Marble Giants,
Rhythm & Sound,
Mary Jane Girls,
Oppenheimer Analysis,
Loose Ends,
Agent Orange,
Stockholm Monsters,
Accadde A,
Pharoah Sanders,
T.S.O.L.,
Lucky Dragons,
Kauko Röyhkä ja Narttu,
Country Joe & The Fish,
Desert Stars,
Chris & Cosey,
Kenny Larkin,
Eddi Front,
the Sonics,
Television,
The Blackbyrds,
Wally Richardson,
Warsaw,
Dave Gahan,
Swell Maps,
Joe Finger,
Arab on Radar,
Judy Mowatt,
Q65,
Average White Band,
Man Eating Sloth,
The Toasters,
D'Angelo,
Lou Reed,
Agitation Free,
The Pop Group,
Danielle Patucci,
Bill Near,
Spoonie Gee,
Vaughan Mason & Crew,
Ludus,
Skaos,
Parry Music,
China Crisis,
Dark Day,
Dorothy Ashby,
Sexual Harrassment,
Roxette,
Whodini,
The Wake,
Lonnie Liston Smith,
X-101, X-101, X-101, X-101.
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.