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 Mauritania 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 1968 to 1975.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 güiro 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 Sonics to the electroclash kids.
I played it at Trash.
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 Boz Scaggs. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
The Cramps,
ABBA,
Adolescents,
Aloha Tigers,
Porter Ricks,
Deepchord,
The Sound,
The Golliwogs,
Terrestrial Tones,
Eric B and Rakim,
Strawberry Alarm Clock,
Rotary Connection,
Brick,
Yaz,
Country Joe & The Fish,
Pulsallama,
Lou Reed,
Avey Tare,
Faust,
The Shadows of Knight,
It's A Beautiful Day,
Man Parrish,
The Happenings,
Marc Romboy vs. Booka Shade,
The Young Rascals,
Outsiders,
Lou Reed & John Cale,
The Moody Blues,
Scientists,
10cc,
Sister Nancy,
Erasure,
Pere Ubu,
Sun Ra,
Echospace,
Kool G Rap & DJ Polo,
The Names,
The United States of America,
Sly & The Family Stone,
Marvin Gaye,
Peter & Gordon,
Arthur Verocai,
F. McDonald,
The Alarm Clocks,
T. Rex,
Man Eating Sloth,
Neil Young & Crazy Horse,
The American Breed,
Andrew Hill,
Young Marble Giants,
Visage,
Sonny Sharrock,
The Cowsills,
The Doors,
The Techniques,
Bauhaus,
Manfred Mann's Earth Band,
Neil Young,
Richard Hell and the Voidoids,
London Community Gospel Choir,
Rahsaan Roland Kirk,
Marine Girls,
Clear Light,
John Foxx, John Foxx, John Foxx, John Foxx.
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.