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 Papua New Guinea and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet 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 Qualms to the dance kids.
I played it at the Troubador.
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 Model 500. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Bauhaus 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 '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Wasted Youth,
Popol Vuh,
Grandmaster Flash and the Furious Five,
The Last Poets,
Basic Channel,
Oppenheimer Analysis,
New York Dolls,
One Last Wish,
Pete Rock & C.L. Smooth,
Camberwell Now,
Flash Fearless,
Fat Boys,
Stockholm Monsters,
Scion,
The Litter,
Glenn Branca,
the Bar-Kays,
Gerry Rafferty,
Art Ensemble Of Chicago,
B.T. Express,
Sällskapet,
Barclay James Harvest,
A Flock of Seagulls,
Peter & Gordon,
Dual Sessions,
Wings,
Ituana,
Stereo Dub,
Echospace,
Magazine,
cv313,
Theoretical Girls,
Sly & The Family Stone,
Soul II Soul,
Ludus,
The Chocolate Watch Band,
Index,
Gang Starr,
Sugar Minott,
The Music Machine,
Lakeside,
June of 44,
Slick Rick,
the Soft Cell,
Von Mondo,
Q and Not U,
The Dirtbombs,
The Slits,
48th St. Collective,
Henry Cow,
Strawberry Alarm Clock,
David McCallum,
Livin' Joy,
Ultra Naté,
Josef K,
Maurizio,
Amon Düül,
Vainqueur,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.