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 Bahamas and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Portland 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 linndrum 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 Fad Gadget to the dance 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 Icehouse. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Half Japanese 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 '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
The Barracudas,
Lou Reed & Metallica,
Panda Bear,
Orchestral Manoeuvres in the Dark,
Rotary Connection,
Be Bop Deluxe,
Sight & Sound,
The Slits,
The Detroit Cobras,
Max Romeo,
The Modern Lovers,
Avey Tare & Kría Brekkan,
Essential Logic,
Scan 7,
The Evens,
Lebanon Hanover,
Radiopuhelimet,
Scott Walker,
Stiv Bators,
Von Mondo,
Amazonics,
X-101,
Peter & Gordon,
The Flesh Eaters,
the Sonics,
Maurizio,
UT,
Qualms,
Art Ensemble Of Chicago,
The Toasters,
The Royal Family And The Poor,
Country Teasers,
CMW,
Moss Icon,
Duran Duran,
Crispy Ambulance,
The Residents,
Fatback Band,
The Walker Brothers,
Tubeway Army,
Connie Case,
Deadbeat,
Flamin' Groovies,
E-Dancer,
Mad Mike,
John Cale,
The Fortunes,
Barclay James Harvest,
Darondo,
Public Enemy,
The Gladiators,
Jeff Lynne,
10cc,
These Immortal Souls,
Joy Division,
Faraquet,
Index,
Barry Ungar,
Blancmange,
the Normal,
Eddi Front,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.