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 Belgium and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
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 Wire practice in a loft in Watford.
I was working on the arpeggiator 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 disco kids.
I played it at the Hacienda.
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 These Immortal Souls. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Andrew Ashong & Theo Parrish,
the Bar-Kays,
The Fire Engines,
The Mighty Diamonds,
The Gories,
Minnie Riperton,
Jeru the Damaja,
Inner City,
Shoche,
Jimmy McGriff,
Kauko Röyhkä ja Narttu,
Jerry's Kids,
Bob Dylan,
The New Christs,
Joensuu 1685,
The Shadows of Knight,
Stereo Dub,
Tommy Roe,
Amon Düül,
Desert Stars,
The Buckinghams,
Gang Gang Dance,
Black Sheep,
The Happenings,
Interpol,
The Smiths,
Ash Ra Tempel,
Cabaret Voltaire,
Gil Scott-Heron & Brian Jackson,
R.M.O.,
Tears for Fears,
Boredoms,
Arthur Verocai,
Althea and Donna,
Erykah Badu,
Eurythmics,
Echospace,
Pantaleimon,
Guru Guru,
Reagan Youth,
Alphaville,
Jawbox,
The Red Krayola,
Crooked Eye,
The Misunderstood,
Sonny Sharrock,
Sam Rivers,
Sonic Youth,
Symarip,
Aaron Thompson,
Main Source,
Erasure,
Agitation Free,
Massinfluence,
The Dirtbombs,
Leonard Cohen,
The Walker Brothers,
Saccharine Trust,
Matthew Halsall,
Connie Case,
Make Up,
The Smoke,
It's A Beautiful Day,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.