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 Thailand and from Paris.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Manila 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 Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Blossom Toes to the rock kids.
I played it at the Roxy.
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 Scan 7. All the underground hits.
All Slave tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Arcadia,
Al Stewart,
Suicide,
Darondo,
Cluster,
Gichy Dan,
Mars,
Marc Almond,
X-102,
Charles Mingus,
Bobby Hutcherson,
Kurtis Blow,
Cheater Slicks,
Peter Gordon & Love of Life Orchestra,
10cc,
Barclay James Harvest,
The Smiths,
Lebanon Hanover,
the Association,
Kas Product,
Hot Snakes,
PIL,
Lizzy Mercier Descloux,
MDC,
Slick Rick,
Sam Rivers,
Fear,
Eurythmics,
It's A Beautiful Day,
The West Coast Pop Art Experimental Band,
Eddi Front,
Sällskapet,
Albert Ayler,
June of 44,
The Blues Magoos,
Jesper Dahlbäck,
Big Daddy Kane,
Lee Hazlewood,
David Bowie,
Nils Olav,
The Men They Couldn't Hang,
Basic Channel,
Marshall Jefferson,
Jeru the Damaja,
Larry & the Blue Notes,
Fugazi,
John Lydon,
Stiv Bators,
the Bar-Kays,
Andrew Ashong & Theo Parrish,
Thee Headcoats,
Archie Shepp,
Mission of Burma,
Vladislav Delay,
Roxette,
Ponytail,
Funkadelic,
Sparks,
MC5,
Scratch Acid,
Electric Light Orchestra,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.