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 Manila.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Sällskapet 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 The Saints. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Joe Smooth 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 '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Flamin' Groovies,
Deutsch Amerikanische Freundschaft,
Interpol,
cv313,
The Chocolate Watch Band,
Bobby Sherman,
Juan Atkins,
Max Romeo,
Jeru the Damaja,
Scott Walker,
Cecil Taylor,
Stereo Dub,
Stockholm Monsters,
Scan 7,
Graham Central Station,
Gregory Isaacs,
Robert Görl,
Jacques Brel,
Model 500,
The Monochrome Set,
Byron Stingily,
The Skatalites,
Inner City,
Yazoo,
K-Klass,
Amon Düül,
Skarface,
Quadrant,
Bluetip,
Ituana,
Jeff Mills,
Little Man,
Lou Christie,
Chrome,
Lou Reed & John Cale,
Stetsasonic,
Y Pants,
Arcadia,
Curtis Mayfield,
James Chance & The Contortions,
Laurel Aitken,
Kurtis Blow,
Leonard Cohen,
These Immortal Souls,
Steve Hackett,
Bobby Hutcherson,
Don Cherry,
Angry Samoans,
Hardrive,
Joensuu 1685,
Ponytail,
Bootsy's Rubber Band,
The Cowsills,
Lightning Bolt,
Blossom Toes,
Neil Young,
Roxy Music,
Fifty Foot Hose,
Rites of Spring,
Lalann, Lalann, Lalann, Lalann.
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.