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 Singapore and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Madrid 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 clarinet 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 The Misunderstood to the rap 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 China Crisis. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Von Mondo,
The Dirtbombs,
Dark Day,
Bad Manners,
Sparks,
Albert Ayler,
Jerry Gold Smith,
Don Cherry,
Judy Mowatt,
The Victims,
Roy Ayers,
Kaleidoscope,
Flamin' Groovies,
Siglo XX,
Blossom Toes,
Colin Newman,
the Germs,
Motorama,
Lalann,
Lindisfarne,
Organ,
Simply Red,
Flipper,
Animal Collective,
The Dead C,
DJ Sneak,
Yazoo,
Kool G Rap & DJ Polo,
Minutemen,
Soul Sonic Force,
The Tremeloes,
Warsaw,
Matthew Halsall,
The Seeds,
The Birthday Party,
Lucky Dragons,
Wasted Youth,
Funky Four + One,
Ultravox,
Au Pairs,
Robert Wyatt,
Supertramp,
Ten City,
The Doors,
The Fortunes,
Yusef Lateef,
The Motions,
Man Parrish,
Japan,
Brass Construction,
Joensuu 1685,
The Index,
Joey Negro,
A Certain Ratio,
James White and The Blacks,
John Coltrane,
Curtis Mayfield,
48th St. Collective,
Rhythm & Sound,
Nick Cave & The Bad Seeds,
Pierre Henry,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.