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 Tunisia and from Shanghai.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Barrington Levy to the jazz kids.
I played it at the Troubador.
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 Lou Reed & Metallica. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Mummies,
Derrick May,
Joe Smooth,
Hasil Adkins,
Wasted Youth,
Michelle Simonal,
Judy Mowatt,
Gil Scott-Heron and Jamie xx,
Stereo Dub,
The Mighty Diamonds,
Leonard Cohen,
Barbara Tucker,
La Düsseldorf,
The Smoke,
Joy Division,
Röyhkä ja Rättö ja Lehtisalo,
The Grass Roots,
The Kinks,
Charles Mingus,
Bronski Beat,
Arcadia,
Icehouse,
Black Sheep,
Curtis Mayfield,
Crash Course in Science,
Qualms,
AZ,
Soft Cell,
The United States of America,
Minny Pops,
Ken Boothe,
Jerry Gold Smith,
Stetsasonic,
Boredoms,
Visionaries,LMNO, T- Love & Iriscience,
Anthony Braxton,
Anakelly,
Sandy B,
Sight & Sound,
KRS-One,
Lindisfarne,
Metal Thangz,
The Sound,
The Associates,
The Busters,
Flash Fearless,
Joyce Sims,
Roy Ayers Ubiquity,
Jerry's Kids,
Man Eating Sloth,
Tim Buckley,
Ajijia Myrayebe,
Con Funk Shun,
Procol Harum,
Reuben Wilson,
Sunsets and Hearts,
Gerry Rafferty,
Pole,
Laurel Aitken,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.