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 Morocco and from Manila.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school New York 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 D'Angelo to the jazz kids.
I played it at the Spitz.
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 Zero Boys. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Alarm Clocks 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
CMW,
Yellowson,
Youth Brigade,
Reagan Youth,
Dave Gahan,
Black Sheep,
Icehouse,
Fatback Band,
Sun City Girls,
Colin Newman,
Moss Icon,
Liliput,
Electric Light Orchestra,
Echospace,
Smog,
Funky Four + One,
Warsaw,
Moby Grape,
China Crisis,
Kas Product,
The Cramps,
The Slackers,
the Association,
Arthur Verocai,
Mark Hollis,
The Monks,
Jeru the Damaja,
Black Pus,
the Germs,
Maurizio,
The Tremeloes,
Make Up,
Magazine,
The Durutti Column,
Judy Mowatt,
Patti Smith,
Selector Dub Narcotic,
Visage,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Josef K,
Swans,
Scan 7,
Liaisons Dangereuses,
Wasted Youth,
Marshall Jefferson,
Bill Wells,
Sun Ra Arkestra,
Whodini,
Cabaret Voltaire,
Gichy Dan,
Bronski Beat,
Scratch Acid,
Robert Görl,
The Selecter,
the Bar-Kays,
Ossler,
Marc Romboy vs. Booka Shade,
Lyres,
The Count Five,
Inner City, Inner City, Inner City, Inner City.
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.