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 Denmark and from Calgary.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
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 Von Mondo to the jazz kids.
I played it at Trash.
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 Stetsasonic. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Raincoats 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 '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Laurel Aitken,
Electric Prunes,
Scratch Acid,
Blancmange,
Newcleus,
Little Man,
Sly & The Family Stone,
Man Eating Sloth,
Big Daddy Kane,
The Dirtbombs,
Masters at Work,
Black Moon,
Gil Scott-Heron and Jamie xx,
The Seeds,
John Holt,
48th St. Collective,
Aaron Thompson,
The Count Five,
Arthur Verocai,
Larry & the Blue Notes,
Jawbox,
Aswad,
Byron Stingily,
Fifty Foot Hose,
Country Teasers,
Bad Manners,
The Cosmic Jokers,
The Blackbyrds,
Mars,
kango's stein massive,
Chris Corsano,
These Immortal Souls,
The Doobie Brothers,
Outsiders,
Tim Buckley,
Andrew Hill,
Essential Logic,
Nation of Ulysses,
Harpers Bizarre,
Dawn Penn,
Television Personalities,
Pantytec,
Roxette,
Fela Kuti,
The United States of America,
Babytalk,
The American Breed,
Gang Green,
Circle Jerks,
Aural Exciters,
the Bar-Kays,
Talk Talk,
Andrew Ashong & Theo Parrish,
Manfred Mann's Earth Band,
Richard Hell and the Voidoids,
Grandmaster Flash and the Furious Five,
Girls At Our Best!,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.