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 Cape Verde and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Portland and Portland.
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 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 Loose Ends to the rock kids.
I played it at the Troubador.
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 Grass Roots. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Peanut Butter Conspiracy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
The Smoke,
The Fire Engines,
Whodini,
Camron Feat. Jay Z And Juelz,
Malaria!,
Agitation Free,
Los Fastidios,
Marvin Gaye,
Second Layer,
Infiniti,
Stetsasonic,
Tropical Tobacco,
Kas Product,
Matthew Bourne,
Rhythim Is Rhythim,
Ajijia Myrayebe,
Toni Rubio,
The Music Machine,
The Wake,
Maleditus Sound,
Curtis Mayfield,
Marshall Jefferson,
Marine Girls,
Rowland S Howard / Lydia Lunch,
Brick,
JFA,
Chris Corsano,
Röyhkä ja Rättö ja Lehtisalo,
Das Ding,
Nico,
a-ha,
Bang on a Can All-Stars,
The Alarm Clocks,
Oppenheimer Analysis,
The Walker Brothers,
Soul II Soul,
Al Stewart,
Scan 7,
Sonic Youth,
Bobby Byrd,
Stiv Bators,
Skarface,
Cluster,
Sarah Menescal,
Urselle,
Funkadelic,
Roy Ayers Ubiquity,
Nick Fraelich,
Kayak,
The Cowsills,
Joe Smooth,
The Invisible,
Black Sheep,
Rekid,
It's A Beautiful Day,
The Searchers,
The Sound,
This Heat,
Big Daddy Kane,
Fort Wilson Riot,
Glenn Branca,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.