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 Papua New Guinea and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Bremen 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 synthesizer 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 Stockholm Monsters to the rock kids.
I played it at the Spitz.
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 Dorothy Ashby. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Heavy D & The Boyz,
The Jesus and Mary Chain,
Henry Cow,
Cheater Slicks,
Radiopuhelimet,
Jeru the Damaja,
The Offenders,
Howard Jones,
Ten City,
Hot Snakes,
La Düsseldorf,
Reagan Youth,
Derrick May,
Don Cherry,
Yaz,
Pierre Henry,
Jimmy McGriff,
Sunsets and Hearts,
Minny Pops,
Sight & Sound,
Robert Hood,
Tommy Roe,
Mr. Review,
Angry Samoans,
The Monks,
Vaughan Mason & Crew,
Q65,
The Cosmic Jokers,
The Angels of Light,
Model 500,
DNA,
The Index,
Unwound,
Goldenarms,
Von Mondo,
Big Daddy Kane,
Thinking Fellers Union Local 282,
The Trojans,
Underground Resistance,
Rhythim Is Rhythim,
London Community Gospel Choir,
June of 44,
World's Most,
It's A Beautiful Day,
Aloha Tigers,
The Blackbyrds,
Michelle Simonal,
Sexual Harrassment,
Cluster,
Mark Hollis,
Young Marble Giants,
Icehouse,
Kayak,
Roxette,
The Count Five,
James Chance & The Contortions,
Blake Baxter,
The Peanut Butter Conspiracy,
Pere Ubu,
Bill Near,
Stereo Dub,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.