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 Kazakhstan and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Mexico City 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 Mission of Burma to the grunge kids.
I played it at the Spitz.
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 Ossler. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Terrestrial Tones,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Quadrant,
Young Marble Giants,
The Moleskins,
Todd Terry,
Sparks,
Desert Stars,
Pierre Henry,
Kas Product,
Jacob Miller,
Grandmaster Flash,
Fluxion,
Grey Daturas,
Lindisfarne,
Ten City,
EPMD,
Donny Hathaway,
Goldenarms,
The Happenings,
Lalann,
Idris Muhammad,
Section 25,
Leonard Cohen,
The Flesh Eaters,
Joyce Sims,
One Last Wish,
Sun Ra,
CMW,
Flash Fearless,
Selector Dub Narcotic,
The United States of America,
the Soft Cell,
Joe Smooth,
Newcleus,
Matthew Bourne,
La Düsseldorf,
PIL,
Brick,
Ultimate Spinach,
Hasil Adkins,
Aural Exciters,
Peter and Kerry,
Dual Sessions,
The Slackers,
The Zeros,
Sexual Harrassment,
The Young Rascals,
John Lydon,
Flipper,
Major Organ And The Adding Machine,
Gregory Isaacs,
Angry Samoans,
Echo & the Bunnymen,
Neil Young & Crazy Horse,
Popol Vuh,
Robert Wyatt,
Marvin Gaye,
Talk Talk,
Q65, Q65, Q65, Q65.
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.