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 Palau and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Aaron Thompson to the funk kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
The Vogues,
Subhumans,
The Star Department,
Al Stewart,
Andrew Ashong & Theo Parrish,
Bill Near,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
Banda Bassotti,
Tropical Tobacco,
Cymande,
Flash Fearless,
The Selecter,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
Little Man,
Joy Division,
The Evens,
Fad Gadget,
the Human League,
Wolf Eyes,
Selector Dub Narcotic,
Essential Logic,
Cameo,
Hashim,
Panda Bear,
N.O.R.E. Featuring Pharrell,
The J.B.'s,
DJ Style,
Masters at Work,
Tears for Fears,
Deutsch Amerikanische Freundschaft,
Ultramagnetic MC's,
Underground Resistance,
The Walker Brothers,
X-101,
Matthew Bourne,
Laurel Aitken,
Section 25,
Marmalade,
Barry Ungar,
Boogie Down Productions,
Wire,
Talk Talk,
Gang of Four,
Black Sheep,
Lou Christie,
Rahsaan Roland Kirk,
Gabor Szabo,
Warren Ellis,
A Flock of Seagulls,
Drive Like Jehu,
Crime,
Morten Harket,
Television,
Amon Düül II,
Tres Demented,
Theoretical Girls,
X-102, X-102, X-102, X-102.
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.