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 Guatemala and from Tehran.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Portland 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 KRS-One to the electroclash 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 X-102. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Dennis Brown,
the Bar-Kays,
The Techniques,
Eden Ahbez,
Metal Thangz,
Echo & the Bunnymen,
Young Marble Giants,
Matthew Halsall,
DNA,
Buzzcocks,
Isaac Hayes,
The Blues Magoos,
Chris & Cosey,
Icehouse,
Faraquet,
Siglo XX,
Electric Light Orchestra,
ABC,
The Doors,
Minor Threat,
Funky Four + One,
the Swans,
The Divine Comedy,
The Blackbyrds,
Urselle,
Thinking Fellers Union Local 282,
Grauzone,
Stiv Bators,
Eric Copeland,
The Smoke,
Bizarre Inc.,
John Coltrane,
Masters at Work,
It's A Beautiful Day,
Wire,
Godley & Creme,
Supertramp,
The Detroit Cobras,
Gang Gang Dance,
Prince Buster,
Shuggie Otis,
Roxette,
Jeru the Damaja,
Pole,
Sonic Youth,
Chris Corsano,
Ludus,
Funkadelic,
Lalann,
Crispian St. Peters,
Morten Harket,
Nik Kershaw,
Crispy Ambulance,
Skarface,
Banda Bassotti,
Scion,
Johnny Clarke,
D'Angelo,
Interpol,
Lonnie Liston Smith,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.