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 Lesotho and from Winnipeg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Portland 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 Ultimate Spinach to the rap kids.
I played it at the Spitz.
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 Roy Ayers Ubiquity. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Jeru the Damaja,
Public Enemy,
Eden Ahbez,
Royal Trux,
Sonny Sharrock,
Brand Nubian,
The Residents,
Japan,
Porter Ricks,
Avey Tare,
Bluetip,
Gabor Szabo,
Black Sheep,
Man Eating Sloth,
Kauko Röyhkä ja Narttu,
Major Organ And The Adding Machine,
Nick Fraelich,
Jacques Brel,
Zero Boys,
Freddie Wadling,
Art Ensemble Of Chicago,
Wolf Eyes,
Make Up,
Avey Tare & Kría Brekkan,
Siglo XX,
Infiniti,
Symarip,
The Knickerbockers,
X-101,
Yazoo,
The Doors,
Jeff Lynne,
Harmonia,
Sun Ra,
Fear,
Magma,
Barrington Levy,
It's A Beautiful Day,
Average White Band,
Banda Bassotti,
Quando Quango,
Depeche Mode,
Peter and Kerry,
Moebius,
The Sound,
The Stooges,
U.S. Maple,
Rod Modell,
Drive Like Jehu,
Eurythmics,
Sexual Harrassment,
The Electric Prunes,
Eric B and Rakim,
June of 44,
The Blackbyrds,
The West Coast Pop Art Experimental Band,
Man Parrish,
JFA,
DJ Style,
Thee Headcoats,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.