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 Ireland and from Glasgow.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Madrid and Manchester.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 Black Pus to the crunk kids.
I played it at the Astoria.
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 Aloha Tigers. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Gary Puckett & The Union Gap,
Joe Finger,
Deutsch Amerikanische Freundschaft,
Neu!,
the Bar-Kays,
Lyres,
Skaos,
DJ Style,
David Bowie,
Sun City Girls,
Vladislav Delay,
Justin Hinds & The Dominoes,
Kayak,
Minny Pops,
X-102,
Aswad,
Half Japanese,
Gregory Isaacs,
The Pretty Things,
Bootsy's Rubber Band,
Amon Düül,
Newcleus,
Bootsy Collins,
Marine Girls,
Desert Stars,
Alphaville,
The Walker Brothers,
Gabor Szabo,
Metal Thangz,
Alison Limerick,
Richard Hell and the Voidoids,
Terrestrial Tones,
Kool G Rap & DJ Polo,
Todd Rundgren,
The Red Krayola,
Connie Case,
Niagra,
Bobby Hutcherson,
Howard Jones,
Toni Rubio,
The United States of America,
48th St. Collective,
Infiniti,
H. Thieme,
Buzzcocks,
Albert Ayler,
The Invisible,
Dark Day,
Television Personalities,
Boz Scaggs,
Pharaoh Sanders and the Fire Engines,
Ralphi Rosario,
Barclay James Harvest,
The Offenders,
The Evens,
Derrick Morgan,
Spoonie Gee,
Radio Birdman,
Monks,
Mark Hollis,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.