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 San Marino and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Monochrome Set to the techno kids.
I played it at Cafe Wha.
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 The Index. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Brothers Johnson,
Sparks,
Joensuu 1685,
Gabor Szabo,
The Mojo Men,
Frankie Knuckles,
The Gun Club,
Nils Olav,
Gary Puckett & The Union Gap,
The Fuzztones,
DeepChord presents Echospace,
Blossom Toes,
the Normal,
Cabaret Voltaire,
The Martian,
Pet Shop Boys,
Zero Boys,
Johnny Clarke,
Quadrant,
Isaac Hayes,
Barry Ungar,
Orchestral Manoeuvres in the Dark,
Rekid,
Sex Pistols,
Pussy Galore,
Grey Daturas,
Howard Jones,
Danielle Patucci,
The Smiths,
Amon Düül,
Art Ensemble Of Chicago,
Quantec,
Negative Approach,
Curtis Mayfield,
The Moleskins,
Index,
Heavy D & The Boyz,
Deadbeat,
Severed Heads,
Don Cherry,
Joe Smooth,
Harpers Bizarre,
Lee Hazlewood,
Boredoms,
Mary Jane Girls,
the Association,
Röyhkä ja Rättö ja Lehtisalo,
Richard Hell and the Voidoids,
cv313,
The Monks,
Mission of Burma,
The Doobie Brothers,
Robert Hood,
The Stooges,
Electric Light Orchestra,
Soulsonic Force,
The Walker Brothers,
Fifty Foot Hose,
Stockholm Monsters,
Amon Düül II,
Althea and Donna,
Siouxsie and the Banshees,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.