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 Austria and from Manchester.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Hong Kong 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro 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 Chris & Cosey to the disco 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 Ronnie Foster. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Howard Jones record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Wolf Eyes,
Niagra,
Brick,
Con Funk Shun,
Inner City,
Boogie Down Productions,
Yellowson,
Buzzcocks,
Section 25,
Kayak,
Fluxion,
The Alarm Clocks,
Motorama,
June Days,
Gregory Isaacs,
Underground Resistance,
Organ,
Q and Not U,
Average White Band,
Oppenheimer Analysis,
The Smoke,
Glambeats Corp.,
Aural Exciters,
Das Ding,
Dennis Brown,
Negative Approach,
Grandmaster Flash and the Furious Five,
Ultra Naté,
The Blues Magoos,
Nils Olav,
Qualms,
Manfred Mann's Earth Band,
Gastr Del Sol,
Bobby Byrd,
Fatback Band,
The Remains,
Thinking Fellers Union Local 282,
Mad Mike,
Cymande,
Y Pants,
Beasts of Bourbon,
Archie Shepp,
The Star Department,
Mandrill,
Peter & Gordon,
Freddie Wadling,
Livin' Joy,
Stereo Dub,
The Fugs,
Basic Channel,
Oneida,
Deadbeat,
Louis and Bebe Barron,
Fugazi,
AZ,
Andrew Hill,
Kauko Röyhkä ja Narttu,
Red Lorry Yellow Lorry,
Matthew Halsall,
Stetsasonic,
Von Mondo,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.