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 Sao Paulo.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Accra 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 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 The Five Americans to the electroclash kids.
I played it at Trash.
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 Matthew Bourne. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Carl Craig,
Ultravox,
Dorothy Ashby,
John Foxx,
Sandy B,
The Black Dice,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sixth Finger,
Ituana,
Siouxsie and the Banshees,
Marc Almond,
The Gun Club,
Chrome,
Ornette Coleman,
Popol Vuh,
Kenny Larkin,
Cybotron,
June of 44,
Nirvana,
Boredoms,
Darondo,
Ultimate Spinach,
Peter and Kerry,
Flash Fearless,
Harmonia,
Thompson Twins,
Lungfish,
Man Eating Sloth,
Parry Music,
Mandrill,
Sex Pistols,
Inner City,
La Düsseldorf,
The Toasters,
Skriet,
Don Cherry,
Fear,
Talk Talk,
The Human League,
The New Christs,
Oneida,
Faust,
Alton Ellis,
Pylon,
Mr. Review,
Oppenheimer Analysis,
Shuggie Otis,
John Lydon,
Minor Threat,
Technova,
Man Parrish,
Fort Wilson Riot,
Bizarre Inc.,
The Music Machine,
Dawn Penn,
Strawberry Alarm Clock,
Spandau Ballet,
Ohio Players,
DNA,
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.