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 Estonia and from Madrid.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
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 marimba 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 Wolf Eyes to the electroclash kids.
I played it at the 40 Watt.
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 Pop Group. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Kayak,
Robert Wyatt,
Monks,
Ludus,
Cameo,
Robert Görl,
The Misunderstood,
Dark Day,
The Fire Engines,
Roxy Music,
Surgeon,
Ken Boothe,
Severed Heads,
X-Ray Spex,
B.T. Express,
Prince Buster,
The Cure,
X-101,
The Gladiators,
Qualms,
Tim Buckley,
Sarah Menescal,
the Sonics,
The Motions,
Public Enemy,
The Slits,
Johnny Osbourne,
Easy Going,
Colin Newman,
Pussy Galore,
The Five Americans,
Mo-Dettes,
Mary Jane Girls,
Spandau Ballet,
Jerry's Kids,
Roy Ayers,
AZ,
Joe Smooth,
David Axelrod,
Oppenheimer Analysis,
The Wake,
Sound Behaviour,
Metal Thangz,
Neil Young,
OOIOO,
Stiv Bators,
Make Up,
The Cowsills,
Barbara Tucker,
Avey Tare's Slasher Flicks,
Oneida,
The Litter,
Gang of Four,
Frankie Knuckles,
Crime,
Lee Hazlewood,
Curtis Mayfield,
Sonny Sharrock,
Bang On A Can,
Alice Coltrane,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.