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 Qatar and from Mexico City.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Spokane 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 linndrum 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 Bluetip to the funk 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 Au Pairs. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Lucky Dragons,
Susan Cadogan,
Negative Approach,
The Jesus and Mary Chain,
Subhumans,
Kerri Chandler,
Nation of Ulysses,
Interpol,
The Fire Engines,
Lou Reed & Metallica,
The Smoke,
Fad Gadget,
Rosa Yemen,
Aswad,
Neil Young,
The Smiths,
Flash Fearless,
Larry & the Blue Notes,
Outsiders,
Tomorrow,
Althea and Donna,
Oppenheimer Analysis,
Pere Ubu,
Ludus,
Black Flag,
Second Layer,
Soft Machine,
Eric Dolphy,
Tom Boy,
Rowland S Howard / Lydia Lunch,
Rhythim Is Rhythim,
Surgeon,
Kings Of Tomorrow,
The Slits,
A Certain Ratio,
Moebius,
The Flesh Eaters,
The Fall,
Crooked Eye,
Lafayette Afro Rock Band,
Eyeless In Gaza,
The Wake,
Alison Limerick,
Crime,
Prince Buster,
Funkadelic,
Public Enemy,
Albert Ayler,
Avey Tare,
The Vogues,
The Victims,
Minutemen,
Art Ensemble Of Chicago,
Groovy Waters,
Sun City Girls,
Half Japanese,
Hasil Adkins,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.