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 Spain and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1970.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Glasgow 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 rhodes sounds with much patience.
I was there when Lou Reed 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 LL Cool J to the crunk kids.
I played it at the 40 Watt.
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 Symarip. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
FM Einheit,
Lightning Bolt,
Subhumans,
Kayak,
Eurythmics,
Nas,
Tropical Tobacco,
Maurizio,
Soft Machine,
Panda Bear,
Sixth Finger,
Terry Callier,
Derrick May,
The Golliwogs,
The Index,
Black Pus,
The Gories,
The Blues Magoos,
Big Daddy Kane,
Don Cherry,
Ultra Naté,
Au Pairs,
Bobby Sherman,
Liliput,
John Lydon,
Babytalk,
Alton Ellis,
Oppenheimer Analysis,
Ultravox,
L. Decosne,
The Names,
Scott Walker + Sunn O))),
Ornette Coleman,
Skarface,
Red Lorry Yellow Lorry,
The Shadows of Knight,
The Searchers,
Dark Day,
The Electric Prunes,
Charles Mingus,
Sad Lovers and Giants,
Bizarre Inc.,
Theoretical Girls,
Mary Jane Girls,
Mo-Dettes,
Model 500,
Traffic Nightmare,
Symarip,
Lakeside,
Radiohead,
Ken Boothe,
Desert Stars,
Pete Rock & C.L. Smooth,
Tears for Fears,
Nick Fraelich,
The Durutti Column,
The Grass Roots,
Outsiders,
Barrington Levy,
Orchestral Manoeuvres in the Dark,
Ossler, Ossler, Ossler, Ossler.
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.