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 San Marino and from Milan.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 The Neon Judgement to the disco kids.
I played it at Cafe Wha.
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 Normal. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Glambeats Corp.,
Eve St. Jones,
The Golliwogs,
Joe Smooth,
The Monks,
Dead Boys,
Kerrie Biddell,
Roxette,
Silicon Teens,
Agent Orange,
Kevin Saunderson,
Sister Nancy,
Maurizio,
Main Source,
Cybotron,
Funky Four + One,
The Standells,
Isaac Hayes,
Kurtis Blow,
Theoretical Girls,
Shoche,
Brand Nubian,
Janne Schatter,
Robert Hood,
Lightning Bolt,
Newcleus,
James White and The Blacks,
Avey Tare,
Bang on a Can All-Stars,
Model 500,
Jeff Lynne,
Dennis Brown,
Robert Görl,
Scion,
Joyce Sims,
Kaleidoscope,
Technova,
The Vogues,
R.M.O.,
Lou Reed & Metallica,
Swans,
Yellowson,
Fort Wilson Riot,
Heaven 17,
The Real Kids,
The Blackbyrds,
The Durutti Column,
Erasure,
Country Joe & The Fish,
The Tremeloes,
Nico,
Radio Birdman,
Larry & the Blue Notes,
Kayak,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Cheater Slicks,
Bobby Womack,
Clear Light,
Malaria!,
Derrick May,
Electric Prunes,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.