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 Egypt and from Edmonton.
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 1970.
I'm losing my edge.
To all the kids in Lille and Glasgow.
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 Josef K practice in a loft in Edinburgh.
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 The Count Five 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 Rhythim Is Rhythim. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Al Stewart 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Eddi Front,
Smog,
Underground Resistance,
Sexual Harrassment,
Gil Scott-Heron & Brian Jackson,
Tomorrow,
kango's stein massive,
Freddie Wadling,
Jacques Brel,
Peter & Gordon,
Neil Young,
The Real Kids,
Lizzy Mercier Descloux,
The Move,
Kauko Röyhkä ja Narttu,
Gang Gang Dance,
Judy Mowatt,
Joy Division,
Unrelated Segments,
Y Pants,
The Electric Prunes,
Theoretical Girls,
Notorious Big And Bone Thugs,
Rowland S Howard / Lydia Lunch,
Ultravox,
Wire,
One Last Wish,
Zapp,
Todd Rundgren,
Pylon,
Roy Ayers,
The Moleskins,
Selector Dub Narcotic,
F. McDonald,
Toni Rubio,
Country Joe & The Fish,
Popol Vuh,
Tres Demented,
Crispian St. Peters,
June Days,
The Alarm Clocks,
Dennis Brown,
Echospace,
Nik Kershaw,
Eurythmics,
cv313,
Gang Starr,
Henry Cow,
Nils Olav,
Heaven 17,
The Victims,
Severed Heads,
Eric Dolphy,
Ice-T,
The Doobie Brothers,
Sugar Minott,
Panda Bear,
Dave Gahan,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.