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 Nicaragua and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Winnipeg 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 Letta Mbulu to the punk 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 Fad Gadget. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Gichy Dan,
Wally Richardson,
Rahsaan Roland Kirk,
Joey Negro,
The Fugs,
Excepter,
Stockholm Monsters,
Warren Ellis,
Piero Umiliani,
The Black Dice,
Bootsy Collins,
Gang Green,
Terrestrial Tones,
Monks,
Brand Nubian,
Todd Terry,
Jacob Miller,
The Velvet Underground,
Throbbing Gristle,
Dark Day,
Yellowson,
The Vogues,
The Jesus and Mary Chain,
Anthony Braxton,
a-ha,
F. McDonald,
Au Pairs,
Eyeless In Gaza,
Thinking Fellers Union Local 282,
Ohio Players,
Model 500,
The Move,
Amon Düül II,
Lee Hazlewood,
Malaria!,
Sonic Youth,
The Durutti Column,
Parry Music,
Faraquet,
Black Moon,
Avey Tare & Kría Brekkan,
Fatback Band,
Glambeats Corp.,
The Walker Brothers,
Patti Smith,
Hasil Adkins,
Alton Ellis,
T. Rex,
Eden Ahbez,
Ultravox,
Mr. Review,
Ludus,
Stiv Bators,
Cheater Slicks,
Michelle Simonal,
Pantytec,
Wasted Youth,
Bootsy's Rubber Band,
Television Personalities,
Cabaret Voltaire,
Matthew Halsall,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.