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 Cambodia and from Spokane.
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 1962 to 1974.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Columbus 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 Bronski Beat practice in a loft in Brixton.
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 Pole to the jazz kids.
I played it at the Roxy.
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 Yellowson. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
John Lydon,
Arab on Radar,
Pharoah Sanders,
OOIOO,
Second Layer,
The Fortunes,
Black Sheep,
Clear Light,
The Pop Group,
Lower 48,
Teenage Jesus and the Jerks,
The Gap Band,
Piero Umiliani,
Siglo XX,
Echo & the Bunnymen,
Thompson Twins,
Jeff Mills,
CMW,
Red Lorry Yellow Lorry,
Harpers Bizarre,
Bluetip,
Justin Hinds & The Dominoes,
Audionom,
Sound Behaviour,
Model 500,
The Barracudas,
Easy Going,
Pagans,
Terror Squad Feat. Camron,
Robert Wyatt,
Pole,
F. McDonald,
Don Cherry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Shuggie Otis,
Yellowson,
Tubeway Army,
Inner City,
Surgeon,
Mary Jane Girls,
Jandek,
Morten Harket,
Nik Kershaw,
Curtis Mayfield,
Jacques Brel,
Roger Hodgson,
Pharaoh Sanders and the Fire Engines,
Deadbeat,
Beasts of Bourbon,
The Stooges,
Rapeman,
The Cosmic Jokers,
The Neon Judgement,
Flamin' Groovies,
Eden Ahbez,
Sun Ra,
Rotary Connection,
Sister Nancy,
Moby Grape,
Camberwell Now,
Lalann,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.