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 Estonia and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Paris 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 Marc Almond to the electroclash 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 The Litter. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
LL Cool J,
Buzzcocks,
Terry Callier,
Hoover,
Newcleus,
Echo & the Bunnymen,
Porter Ricks,
In Retrospect,
Stockholm Monsters,
The Slackers,
Sticky Fingaz feat. Raekwon,
Quadrant,
The Names,
Kool G Rap & DJ Polo,
Pete Rock & C.L. Smooth,
Wighnomy Brothers & Robag Wruhme,
Susan Cadogan,
Peter and Kerry,
L. Decosne,
The Black Dice,
Judy Mowatt,
Michelle Simonal,
Pulsallama,
Deadbeat,
Barclay James Harvest,
ABBA,
Lafayette Afro Rock Band,
Grandmaster Flash and the Furious Five,
Dave Gahan,
Art Ensemble Of Chicago,
Avey Tare,
Cecil Taylor,
Moss Icon,
Isaac Hayes,
Idris Muhammad,
The Gladiators,
Richard Hell and the Voidoids,
Aural Exciters,
The Red Krayola,
Johnny Clarke,
Bad Manners,
Dorothy Ashby,
Pantaleimon,
The Cosmic Jokers,
Icehouse,
Albert Ayler,
Heaven 17,
Bob Dylan,
Amon Düül,
Freddie Wadling,
Maurizio,
Loose Ends,
Cheater Slicks,
Joe Finger,
The Skatalites,
Sun City Girls,
Monks,
Mark Hollis,
Zapp,
Warren Ellis,
Ituana,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.