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 Taiwan and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1979.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Johannesburg 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 Porter Ricks to the grime 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 Electric Prunes. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every the Human League 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
World's Most,
Glambeats Corp.,
Fort Wilson Riot,
Gil Scott Heron,
The Cosmic Jokers,
DJ Sneak,
Organ,
Maurizio,
Peter Gordon & Love of Life Orchestra,
Aloha Tigers,
The Saints,
Warsaw,
Traffic Nightmare,
Deepchord,
F. McDonald,
Glenn Branca,
Lou Reed & Metallica,
Electric Prunes,
Visage,
a-ha,
The Motions,
Quadrant,
The Barracudas,
Tomorrow,
The Fall,
Fifty Foot Hose,
The Martian,
Cabaret Voltaire,
The Index,
Sixth Finger,
The Real Kids,
Ludus,
The Walker Brothers,
Alison Limerick,
The West Coast Pop Art Experimental Band,
Unrelated Segments,
DNA,
Rufus Thomas,
Ice-T,
Yellowson,
Grey Daturas,
Pole,
Agent Orange,
The Music Machine,
Lucky Dragons,
Khruangbin,
Oneida,
Pantytec,
Neil Young,
Bobby Hutcherson,
Oblivians,
Kauko Röyhkä ja Narttu,
The Gladiators,
The Cowsills,
Sad Lovers and Giants,
Crispian St. Peters,
The Slackers,
The Skatalites,
The United States of America,
DeepChord presents Echospace,
Sparks,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.