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 Honduras and from Houston.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school London 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 Lou Reed 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 Intrusion to the rap 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 Rhythim Is Rhythim. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal dance 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 a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Ice-T,
the Slits,
Lou Christie,
Soulsonic Force,
The Vogues,
James Chance & The Contortions,
Strawberry Alarm Clock,
The Pop Group,
Cymande,
Unrelated Segments,
The Birthday Party,
Bush Tetras,
The Doobie Brothers,
Eli Mardock,
The Black Dice,
Delon & Dalcan,
Crime,
Crash Course in Science,
The Star Department,
Joy Division,
The American Breed,
Sun Ra,
Tim Buckley,
Gang of Four,
Surgeon,
Peter and Kerry,
Juan Atkins,
Fear,
Outsiders,
Marcia Griffiths,
June of 44,
Franke,
Masters at Work,
Guru Guru,
Darondo,
Gastr Del Sol,
Judy Mowatt,
It's A Beautiful Day,
Brass Construction,
Major Organ And The Adding Machine,
Alton Ellis,
Aaron Thompson,
The Tremeloes,
Can,
The Remains,
Marmalade,
Lalann,
DNA,
Das Ding,
Fort Wilson Riot,
The Stooges,
Rahsaan Roland Kirk,
Circle Jerks,
Jacques Brel,
Ituana,
Bizarre Inc.,
Henry Cow,
Idris Muhammad,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.