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 Antigua and from Woodstock.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Bologna 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 Art of Noise practice in a loft in London.
I was working on the rhodes 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 B.T. Express to the techno 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 Fear. All the underground hits.
All Jesper Dahlback 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 rap 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Graham Central Station,
Ronnie Foster,
Chris Corsano,
June Days,
The Birthday Party,
Audionom,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Sonics,
Little Man,
Boogie Down Productions,
EPMD,
The Slackers,
The Leaves,
The Cowsills,
Whodini,
48th St. Collective,
Groovy Waters,
Charles Mingus,
Echospace,
8 Eyed Spy,
Freddie Wadling,
The Red Krayola,
Rod Modell,
Tears for Fears,
Shuggie Otis,
The Modern Lovers,
Main Source,
Gang Gang Dance,
KRS-One,
Gang Green,
the Soft Cell,
The Mummies,
Japan,
Barbara Tucker,
Richard Hell and the Voidoids,
Deakin,
Anakelly,
Gang Starr,
Terry Callier,
Lee Hazlewood,
Bootsy's Rubber Band,
Au Pairs,
Marvin Gaye,
Quantec,
Peter & Gordon,
Morten Harket,
Motorama,
Agent Orange,
The Sonics,
Cheater Slicks,
Beasts of Bourbon,
The Martian,
Monks,
Lebanon Hanover,
Minnie Riperton,
Angry Samoans,
Sight & Sound,
Kool G Rap & DJ Polo,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.