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 Tanzania and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Beijing 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 Feelies practice in a loft in Haledon.
I was working on the guitar 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 Alison Limerick 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 The Electric Prunes. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Lyres,
Barclay James Harvest,
Talk Talk,
Zapp,
Nas,
Orchestral Manoeuvres in the Dark,
Franke,
London Community Gospel Choir,
ABC,
Procol Harum,
The Vogues,
Deadbeat,
Black Pus,
Kings Of Tomorrow,
David McCallum,
Gil Scott-Heron & Brian Jackson,
Aural Exciters,
A Flock of Seagulls,
Country Teasers,
Sun Ra,
Godley & Creme,
Flamin' Groovies,
Public Image Ltd.,
Junior Murvin,
the Human League,
Girls At Our Best!,
Black Bananas,
The Red Krayola,
Buzzcocks,
Anthony Braxton,
La Düsseldorf,
Scion,
Index,
The Divine Comedy,
The Velvet Underground,
Mission of Burma,
Jandek,
The Motions,
Roxette,
10cc,
Minny Pops,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
8 Eyed Spy,
Minor Threat,
PIL,
June of 44,
E-Dancer,
the Swans,
Sparks,
Gian Franco Pienzio,
Ronnie Foster,
Letta Mbulu,
Mary Jane Girls,
Minutemen,
Throbbing Gristle,
Ituana,
Visionaries,LMNO, T- Love & Iriscience,
Cal Tjader,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.