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 France and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Milan and Calgary.
I'm losing my edge to the art-school New York 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 mellotron 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 Wake to the disco 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 Ossler. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Audionom 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
De La Soul & Jungle Brothers,
Pet Shop Boys,
Gregory Isaacs,
The Seeds,
Mark Hollis,
Isaac Hayes,
Notorious Big And Bone Thugs,
Skaos,
Bobby Hutcherson,
the Bar-Kays,
Porter Ricks,
The Litter,
Sun Ra,
The Chocolate Watch Band,
Rapeman,
The West Coast Pop Art Experimental Band,
Wasted Youth,
Scratch Acid,
Flipper,
The Leaves,
Mary Jane Girls,
Half Japanese,
Sandy B,
Scrapy,
Icehouse,
EPMD,
Outsiders,
Chris & Cosey,
Maurizio,
Adolescents,
Babytalk,
B.T. Express,
Kauko Röyhkä ja Narttu,
Skriet,
The Moleskins,
Ronan,
Popol Vuh,
Sight & Sound,
Black Sheep,
Zero Boys,
The Residents,
June of 44,
The Red Krayola,
Desert Stars,
Quando Quango,
Barry Ungar,
Pylon,
The Five Americans,
The Young Rascals,
La Düsseldorf,
Peter and Kerry,
Gian Franco Pienzio,
Josef K,
the Association,
Black Bananas,
The Cowsills,
Bobby Womack,
Kevin Saunderson,
Procol Harum,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.