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 Guinea and from Houston.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Houston 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 Feelies practice in a loft in Haledon.
I was working on the harpsichord 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 The American Breed to the rap kids.
I played it at the Crocodile.
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 Babytalk. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Silicon Teens,
Unrelated Segments,
Ultramagnetic MC's,
Radiopuhelimet,
Subhumans,
Depeche Mode,
The Fugs,
Darondo,
The Cramps,
Colin Newman,
Lee Hazlewood,
Mo-Dettes,
Bobby Hutcherson,
Todd Rundgren,
Liaisons Dangereuses,
Dark Day,
Slick Rick,
La Düsseldorf,
Tomorrow,
Eve St. Jones,
The Walker Brothers,
Mandrill,
Television Personalities,
Saccharine Trust,
Model 500,
Vainqueur,
Bootsy's Rubber Band,
Joe Finger,
The Star Department,
Major Organ And The Adding Machine,
Circle Jerks,
Don Cherry,
Hasil Adkins,
Skaos,
Crime,
Man Eating Sloth,
Eric B and Rakim,
Traffic Nightmare,
Sparks,
Art Ensemble Of Chicago,
Flamin' Groovies,
The Stooges,
Idris Muhammad,
Organ,
The Sound,
The Young Rascals,
Mission of Burma,
Crooked Eye,
Oppenheimer Analysis,
Kings Of Tomorrow,
the Association,
Loose Ends,
Heaven 17,
Reuben Wilson,
AZ,
Red Lorry Yellow Lorry,
The Searchers,
Cybotron,
Kas Product,
Tubeway Army,
Youth Brigade,
The Buckinghams,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.