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 Benin and from New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Taipei 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 theremin 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 Morten Harket to the punk kids.
I played it at the Hacienda.
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 Quando Quango. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Public Enemy,
Warsaw,
Masters at Work,
Brick,
Simply Red,
Reagan Youth,
The Detroit Cobras,
The Grass Roots,
Peter Gordon & Love of Life Orchestra,
the Germs,
Teenage Jesus and the Jerks,
The Blackbyrds,
Black Flag,
Janne Schatter,
Godley & Creme,
Oppenheimer Analysis,
Lou Reed & Metallica,
EPMD,
Tubeway Army,
Notorious Big And Bone Thugs,
Hoover,
Massinfluence,
Ralphi Rosario,
Robert Hood,
Glenn Branca,
Barclay James Harvest,
Camron Feat. Memphis Bleek And Beenie Seigel,
a-ha,
T.S.O.L.,
DNA,
Alice Coltrane,
Inner City,
Sad Lovers and Giants,
Josef K,
Todd Rundgren,
Ituana,
Skarface,
The Neon Judgement,
Eyeless In Gaza,
Iggy Pop,
Carl Craig,
Dorothy Ashby,
Monolake,
Mo-Dettes,
The Wake,
Leonard Cohen,
Stockholm Monsters,
Au Pairs,
Liliput,
Whodini,
Gang Green,
Aural Exciters,
Soft Cell,
Art Ensemble Of Chicago,
Derrick Morgan,
Liaisons Dangereuses,
Rod Modell,
Talk Talk,
Nico,
Khruangbin,
Shoche,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.