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 Cuba and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Excepter to the grime kids.
I played it at CBGB's.
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 Gap Band. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Sparks,
Roger Hodgson,
Hardrive,
Peter and Kerry,
Fela Kuti,
Juan Atkins,
Dawn Penn,
Kevin Saunderson,
The Shadows of Knight,
X-101,
Terror Squad Feat. Camron,
Ossler,
The Fortunes,
The Alarm Clocks,
Sex Pistols,
The Wake,
Nation of Ulysses,
Iggy Pop,
Joensuu 1685,
Kenny Larkin,
Marmalade,
X-102,
Gang Gang Dance,
Darondo,
Röyhkä ja Rättö ja Lehtisalo,
The Litter,
Aloha Tigers,
Porter Ricks,
Fort Wilson Riot,
Alton Ellis,
Boogie Down Productions,
In Retrospect,
Bootsy's Rubber Band,
B.T. Express,
Sun Ra Arkestra,
Skriet,
Theoretical Girls,
The Toasters,
Rakim,
Rekid,
Girls At Our Best!,
The Five Americans,
Delon & Dalcan,
the Association,
Eyeless In Gaza,
Grey Daturas,
Bauhaus,
Circle Jerks,
Danielle Patucci,
Brass Construction,
The Durutti Column,
X-Ray Spex,
Glenn Branca,
Avey Tare,
Technova,
Erasure,
Rhythm & Sound,
Rosa Yemen,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.