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 Jamaica and from Philadelphia.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Crooked Eye to the jazz 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 Eyeless In Gaza. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Essential Logic,
The Pretty Things,
Terry Callier,
Pharaoh Sanders and the Fire Engines,
John Cale,
Magma,
Kayak,
Lyres,
Scion,
Mo-Dettes,
The Smiths,
The Cramps,
Piero Umiliani,
Rod Modell,
Leonard Cohen,
Tears for Fears,
Negative Approach,
Brass Construction,
Livin' Joy,
Judy Mowatt,
The Raincoats,
Suicide,
the Soft Cell,
Talk Talk,
Derrick May,
Joey Negro,
Colin Newman,
Nils Olav,
Zero Boys,
The Searchers,
Lakeside,
D'Angelo,
Matthew Bourne,
Crispy Ambulance,
Television,
Angry Samoans,
Quantec,
Ten City,
Gastr Del Sol,
Eric Copeland,
Duran Duran,
Terrestrial Tones,
The Index,
The Names,
Blossom Toes,
Flamin' Groovies,
Boogie Down Productions,
Kauko Röyhkä ja Narttu,
The Moleskins,
DNA,
Anthony Braxton,
CMW,
Severed Heads,
Porter Ricks,
Derrick Morgan,
Lonnie Liston Smith,
L. Decosne,
Hashim,
Young Marble Giants,
Aaron Thompson,
Basic Channel,
It's A Beautiful Day,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.