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 Congo and from Jakarta.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 John Holt to the disco 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 Lou Christie. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Ultra Naté,
Sällskapet,
Sly & The Family Stone,
Pantaleimon,
Connie Case,
The Walker Brothers,
Bobby Byrd,
Donald Byrd,
Man Eating Sloth,
The Busters,
Country Joe & The Fish,
Robert Hood,
The Moleskins,
Organ,
Shoche,
John Foxx,
MDC,
This Heat,
Brand Nubian,
Darondo,
Youth Brigade,
Soul II Soul,
Bauhaus,
Sad Lovers and Giants,
Scientists,
Eyeless In Gaza,
F. McDonald,
Fifty Foot Hose,
Manfred Mann's Earth Band,
Jimmy McGriff,
Sticky Fingaz feat. Raekwon,
Carl Craig,
Wally Richardson,
Charles Mingus,
Richard Hell and the Voidoids,
Judy Mowatt,
the Soft Cell,
Wings,
Ten City,
Tom Boy,
Niagra,
Rites of Spring,
Gabor Szabo,
Joey Negro,
Laurel Aitken,
Dead Boys,
Radiohead,
Television Personalities,
Idris Muhammad,
Electric Light Orchestra,
Rod Modell,
Sex Pistols,
Iggy Pop,
48th St. Collective,
the Fania All-Stars,
Supertramp,
The Flesh Eaters,
Suicide,
Icehouse,
ABBA,
Country Teasers,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.