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 Mali and from Copenhagen.
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 Shanghai and Bologna.
I'm losing my edge to the art-school Lagos 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 Vladislav Delay to the grunge kids.
I played it at the Astoria.
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 Icehouse. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Fear,
Terror Squad Feat. Camron,
Jacques Brel,
Steve Hackett,
Adolescents,
Rosa Yemen,
Au Pairs,
Wolf Eyes,
Ten City,
Masters at Work,
Barclay James Harvest,
Roy Ayers Ubiquity,
Avey Tare,
Kings Of Tomorrow,
Ohio Players,
the Swans,
The United States of America,
Fela Kuti,
John Coltrane,
Intrusion,
Max Romeo,
10cc,
Prince Buster,
Todd Rundgren,
Piero Umiliani,
Cecil Taylor,
Lou Reed,
Tomorrow,
Easy Going,
Infiniti,
Joey Negro,
Moby Grape,
Crispy Ambulance,
Bauhaus,
Pussy Galore,
Lalo Schifrin,
The Pop Group,
Dorothy Ashby,
Whodini,
Brass Construction,
The Divine Comedy,
Arcadia,
Electric Light Orchestra,
The J.B.'s,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Wasted Youth,
The Invisible,
Toni Rubio,
Heavy D & The Boyz,
Organ,
Sun Ra Arkestra,
Blancmange,
Donald Byrd,
Parry Music,
Amon Düül,
Ronan,
The Alarm Clocks,
LL Cool J,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.