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 France and from Madrid.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tehran.
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 theremin 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 June Days to the rap 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 Donald Byrd. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Masters at Work,
Half Japanese,
Mo-Dettes,
The Residents,
Avey Tare's Slasher Flicks,
Ohio Players,
Arthur Verocai,
Kenny Larkin,
Sandy B,
The Star Department,
Nirvana,
The Young Rascals,
It's A Beautiful Day,
Aaron Thompson,
Vainqueur,
Main Source,
Andrew Hill,
The Mojo Men,
Ornette Coleman,
The Knickerbockers,
the Soft Cell,
Kool Moe Dee,
the Bar-Kays,
CMW,
Marmalade,
Sun Ra,
Lonnie Liston Smith,
Essential Logic,
Susan Cadogan,
Dennis Brown,
Bronski Beat,
Ronan,
The United States of America,
Eric B and Rakim,
Beasts of Bourbon,
Television,
Orchestral Manoeuvres in the Dark,
Q and Not U,
T. Rex,
Country Joe & The Fish,
John Holt,
Soulsonic Force,
The Black Dice,
Lalann,
Average White Band,
Camberwell Now,
Jawbox,
The Standells,
Lizzy Mercier Descloux,
Barclay James Harvest,
Skarface,
Babytalk,
the Human League,
Wire,
Q65,
Ultimate Spinach,
Mary Jane Girls,
Lee Hazlewood,
Make Up,
Avey Tare,
Fad Gadget,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.