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 Slovakia and from Woodstock.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 Delon & Dalcan 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 Leonard Cohen. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Amon Düül II,
The Buckinghams,
Gabor Szabo,
Liliput,
Harpers Bizarre,
Buzzcocks,
Dr. Dre and Snoop Doggy Dog,
Eden Ahbez,
UT,
Quadrant,
Audionom,
Section 25,
Sister Nancy,
Hardrive,
The Selecter,
The Gun Club,
The Peanut Butter Conspiracy,
48th St. Collective,
Lee Hazlewood,
Marmalade,
Marshall Jefferson,
The Standells,
Red Lorry Yellow Lorry,
Todd Terry,
Ralphi Rosario,
The Leaves,
Bobby Womack,
Drexciya,
Jawbox,
Jacob Miller,
Byron Stingily,
The Martian,
Pussy Galore,
Barry Ungar,
Jeff Mills,
Camberwell Now,
The Electric Prunes,
Tres Demented,
The Sisters of Mercy,
Country Teasers,
Lou Reed & John Cale,
Ponytail,
Excepter,
Masters at Work,
Gang Gang Dance,
Moby Grape,
Gary Puckett & The Union Gap,
MC5,
Wings,
Agitation Free,
Pole,
Symarip,
Niagra,
Orchestral Manoeuvres in the Dark,
Drive Like Jehu,
E-Dancer,
B.T. Express,
Rod Modell,
Cecil Taylor,
The Seeds,
Graham Central Station,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.