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 Sweden and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manila and Spokane.
I'm losing my edge to the art-school Cairo 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Gian Franco Pienzio to the grime 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 David McCallum. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis 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?
The Monks,
Maurizio,
The Gun Club,
Parry Music,
Dorothy Ashby,
The Victims,
Graham Central Station,
A Flock of Seagulls,
The Mojo Men,
Symarip,
Ossler,
Quantec,
Avey Tare's Slasher Flicks,
CMW,
The Zeros,
Scott Walker + Sunn O))),
The Busters,
The Doors,
48th St. Collective,
Groovy Waters,
Joey Negro,
Black Sheep,
LL Cool J,
Bobby Hutcherson,
The Smiths,
the Germs,
The Birthday Party,
Easy Going,
The Tremeloes,
Jimmy McGriff,
Black Pus,
Harmonia,
Bobby Byrd,
The Divine Comedy,
The Seeds,
Stereo Dub,
Deutsch Amerikanische Freundschaft,
Gil Scott-Heron & Brian Jackson,
June Days,
Barrington Levy,
Second Layer,
Orchestral Manoeuvres in the Dark,
Joensuu 1685,
Bobbi Humphrey,
Lebanon Hanover,
Toni Rubio,
Depeche Mode,
Rakim,
Jesper Dahlbäck,
Supertramp,
Cameo,
Letta Mbulu,
Scrapy,
Saccharine Trust,
Kings Of Tomorrow,
The Sisters of Mercy,
Dual Sessions,
Brothers Johnson,
Excepter,
Hot Snakes,
The Music Machine,
Mission of Burma,
Magazine, Magazine, Magazine, Magazine.
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.