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 Cambodia and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Winnipeg.
I'm losing my edge to the art-school Bologna 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 Pulsallama to the rock kids.
I played it at CBGB's.
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 The Mojo Men. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Interpol,
UT,
The Move,
Heavy D & The Boyz,
Ohio Players,
Jawbox,
Brick,
The Associates,
Monks,
the Association,
Masters at Work,
Lou Christie,
Stereo Dub,
Andrew Ashong & Theo Parrish,
Joey Negro,
Angry Samoans,
Roy Ayers Ubiquity,
The Techniques,
Guru Guru,
The Fortunes,
The Offenders,
Lou Reed & Metallica,
Captain Beefheart & His Magic Band,
Ituana,
Camouflage,
Matthew Halsall,
Yazoo,
Donny Hathaway,
Pole,
Oppenheimer Analysis,
Isaac Hayes,
Barclay James Harvest,
Dark Day,
Funkadelic,
Surgeon,
Minutemen,
The Five Americans,
H. Thieme,
Accadde A,
cv313,
Flash Fearless,
Camron Feat. Jay Z And Juelz,
Section 25,
Arab on Radar,
Echo & the Bunnymen,
A Flock of Seagulls,
Blancmange,
This Heat,
Soft Machine,
Chris & Cosey,
Avey Tare's Slasher Flicks,
Mr. Review,
Prince Buster,
Japan,
Gil Scott-Heron & Brian Jackson,
The Selecter,
Oblivians,
Cybotron,
Pharoah Sanders,
Drexciya,
Ponytail,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.