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 Bhutan and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Metal Thangz to the crunk kids.
I played it at the 40 Watt.
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 Japan. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Stetsasonic,
Thinking Fellers Union Local 282,
Harry Pussy,
Model 500,
Bootsy Collins,
The Slackers,
the Swans,
The Busters,
Albert Ayler,
LL Cool J,
Fat Boys,
Tres Demented,
Outsiders,
The Misunderstood,
Camberwell Now,
kango's stein massive,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
Henry Cow,
Bobby Byrd,
Funkadelic,
Suburban Knight,
The Toasters,
Quando Quango,
Scan 7,
Amon Düül II,
Main Source,
The Gories,
Chris & Cosey,
Masters at Work,
Stiv Bators,
Eurythmics,
June Days,
the Human League,
Infiniti,
Heaven 17,
Agitation Free,
U.S. Maple,
Toni Rubio,
Can,
Suicide,
Yazoo,
Gerry Rafferty,
Surgeon,
The Gap Band,
Fear,
Silicon Teens,
Blossom Toes,
Depeche Mode,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bauhaus,
Kaleidoscope,
Juan Atkins,
Faust,
Dennis Brown,
Funky Four + One,
La Düsseldorf,
Swans,
Severed Heads,
Bill Wells,
Tropical Tobacco,
The Motions, The Motions, The Motions, The Motions.
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.