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 Kyrgyzstan and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Glasgow 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 organ 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 Scott Walker to the jazz kids.
I played it at the Troubador.
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 the Soft Cell. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Thee Headcoats,
The Beau Brummels,
Marc Almond,
Fort Wilson Riot,
Boogie Down Productions,
Justin Hinds & The Dominoes,
Bobby Sherman,
Jeff Mills,
Sunsets and Hearts,
Bobby Womack,
Kerri Chandler,
48th St. Collective,
Rites of Spring,
Leonard Cohen,
Ronan,
The Divine Comedy,
Black Flag,
Selector Dub Narcotic,
D'Angelo,
The Smoke,
A Certain Ratio,
Lucky Dragons,
DJ Style,
cv313,
The Monochrome Set,
Avey Tare,
The Star Department,
Cabaret Voltaire,
New York Dolls,
Albert Ayler,
The Invisible,
Vaughan Mason & Crew,
Agitation Free,
Alton Ellis,
Richard Hell and the Voidoids,
Dave Gahan,
Wire,
Jandek,
Saccharine Trust,
The Victims,
Althea and Donna,
Kas Product,
Robert Wyatt,
The Gap Band,
The Index,
The Happenings,
Theoretical Girls,
Kerrie Biddell,
Panda Bear,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Tommy Roe,
Echospace,
Sun Ra Arkestra,
Little Man,
Eric Copeland,
Man Parrish,
Kenny Larkin,
Lou Reed & Metallica,
CMW, CMW, CMW, CMW.
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.