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 Solomon Islands and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Milan 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 Chic practice in a loft in New York.
I was working on the clarinet 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 Arcadia to the grime 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 Neu!. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Barry Ungar,
Albert Ayler,
Hot Snakes,
Peter and Kerry,
Gian Franco Pienzio,
Lebanon Hanover,
Section 25,
This Heat,
Derrick May,
Gil Scott-Heron & Brian Jackson,
Toni Rubio,
Outsiders,
Fifty Foot Hose,
Soft Cell,
Kool G Rap & DJ Polo,
Angels of Light & Akron/Family,
E-Dancer,
Metal Thangz,
Hardrive,
Teenage Jesus and the Jerks,
The Leaves,
The American Breed,
The Chocolate Watch Band,
Moss Icon,
Porter Ricks,
The Standells,
Joyce Sims,
Harpers Bizarre,
Gil Scott-Heron and Jamie xx,
Bang On A Can,
Eric Copeland,
Major Organ And The Adding Machine,
Spandau Ballet,
Hoover,
Maleditus Sound,
Grandmaster Flash and the Furious Five,
Gong,
Boogie Down Productions,
Con Funk Shun,
Graham Central Station,
Glambeats Corp.,
Gregory Isaacs,
Unrelated Segments,
Pussy Galore,
Ralphi Rosario,
Gang Starr,
The Gun Club,
Eric Dolphy,
Black Bananas,
The Jesus and Mary Chain,
It's A Beautiful Day,
Amazonics,
Angry Samoans,
Half Japanese,
Nik Kershaw,
Kas Product,
The Fugs,
kango's stein massive,
Mark Hollis,
Cecil Taylor,
Radio Birdman,
Marine Girls,
Gang Green, Gang Green, Gang Green, Gang Green.
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.