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 Dominican Republic and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Woodstock 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 arpeggiator 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 Buzzcocks to the disco 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 The Raincoats. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Lebanon Hanover,
The Blues Magoos,
PIL,
Echospace,
Hasil Adkins,
Tears for Fears,
Stereo Dub,
The American Breed,
Sam Rivers,
The Fire Engines,
The Techniques,
The Chocolate Watch Band,
Trumans Water,
Rod Modell,
Crispy Ambulance,
Graham Central Station,
Jeru the Damaja,
X-102,
Jerry Gold Smith,
Unwound,
Stiv Bators,
Adolescents,
Tres Demented,
Liliput,
The Shadows of Knight,
Negative Approach,
Dorothy Ashby,
Loose Ends,
Barclay James Harvest,
Larry & the Blue Notes,
Louis and Bebe Barron,
The Evens,
Deutsch Amerikanische Freundschaft,
Moebius,
The Gladiators,
The Walker Brothers,
Boogie Down Productions,
Max Romeo,
Yaz,
The Monks,
Ronnie Foster,
H. Thieme,
Notorious BIG live in Amsterdam,
Hoover,
Kings Of Tomorrow,
Theoretical Girls,
Piero Umiliani,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joy Division,
Jawbox,
Pharaoh Sanders and the Fire Engines,
Rufus Thomas,
Eric Dolphy,
The Fuzztones,
Marc Almond,
The Happenings,
The J.B.'s,
Youth Brigade,
Johnny Osbourne,
Suburban Knight,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.