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 the UAE and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Bremen 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 snare 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 Lee Hazlewood to the electroclash kids.
I played it at the Troubador.
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 New York Dolls. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Pole,
Rosa Yemen,
John Holt,
John Lydon,
Charles Mingus,
The Beau Brummels,
Eric B and Rakim,
Scan 7,
Ralphi Rosario,
The United States of America,
Mr. Review,
The Cosmic Jokers,
Andrew Ashong & Theo Parrish,
Radiopuhelimet,
Röyhkä ja Rättö ja Lehtisalo,
Animal Collective,
Electric Light Orchestra,
Monolake,
Sight & Sound,
Kango’s Stein Massive,
Danielle Patucci,
Colin Newman,
London Community Gospel Choir,
The Young Rascals,
the Swans,
Art Ensemble Of Chicago,
Soft Machine,
Marc Almond,
Joyce Sims,
The Busters,
The Cure,
Eurythmics,
Jerry's Kids,
Country Joe & The Fish,
Derrick May,
The Gun Club,
Pylon,
Chrome,
Notorious Big And Bone Thugs,
48th St. Collective,
Severed Heads,
Terry Callier,
Mary Jane Girls,
Curtis Mayfield,
Echo & the Bunnymen,
Goldenarms,
Country Teasers,
Josef K,
Vainqueur,
Arthur Verocai,
Neil Young & Crazy Horse,
Sandy B,
Soul II Soul,
The Angels of Light,
Sister Nancy,
X-102,
The Pop Group,
kango's stein massive,
Pharaoh Sanders and the Fire Engines,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.