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 Croatia and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
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 snare 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 It's A Beautiful Day to the techno 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 Carl Craig. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Schoolly D,
Magazine,
The Pop Group,
The Shadows of Knight,
Bizarre Inc.,
Leonard Cohen,
In Retrospect,
Tears for Fears,
The Angels of Light,
Black Bananas,
Tom Boy,
Angry Samoans,
Cybotron,
Motorama,
Sun Ra Arkestra,
Quando Quango,
Hasil Adkins,
Radio Birdman,
The Mojo Men,
Moebius,
Lizzy Mercier Descloux,
Malaria!,
Dual Sessions,
Marshall Jefferson,
Be Bop Deluxe,
Toni Rubio,
The Detroit Cobras,
Groovy Waters,
Rakim,
DeepChord presents Echospace,
June of 44,
Sarah Menescal,
the Germs,
Arthur Verocai,
The Red Krayola,
Curtis Mayfield,
The Leaves,
Nik Kershaw,
B.T. Express,
Glambeats Corp.,
the Sonics,
R.M.O.,
Wighnomy Brothers & Robag Wruhme,
MC5,
Kenny Larkin,
Parry Music,
Marc Romboy vs. Booka Shade,
Erykah Badu,
Sly & The Family Stone,
Country Teasers,
The Neon Judgement,
Essential Logic,
La Düsseldorf,
the Normal,
Agent Orange,
The West Coast Pop Art Experimental Band,
Peter Gordon & Love of Life Orchestra,
Young Marble Giants,
Yusef Lateef,
Bobby Sherman,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.