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 Laos and from Winnipeg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Tokyo 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 808 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 Boz Scaggs to the techno 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 Suicide. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Banda Bassotti 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 a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Girls At Our Best!,
Angels of Light & Akron/Family,
Interpol,
Stockholm Monsters,
Barclay James Harvest,
Dark Day,
Rapeman,
Lebanon Hanover,
New York Dolls,
Ornette Coleman,
Fluxion,
Khruangbin,
Young Marble Giants,
Robert Hood,
Lee Hazlewood,
Isaac Hayes,
Robert Görl,
Mission of Burma,
The Invisible,
Dawn Penn,
Trumans Water,
Bobby Womack,
Harmonia,
Crispy Ambulance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Big Daddy Kane,
Siouxsie and the Banshees,
Technova,
the Bar-Kays,
Richard Hell and the Voidoids,
Moebius,
The Toasters,
China Crisis,
MDC,
Cecil Taylor,
Grandmaster Flash,
the Slits,
It's A Beautiful Day,
Accadde A,
Smog,
Sun City Girls,
Captain Beefheart & His Magic Band,
David Axelrod,
Motorama,
Echospace,
F. McDonald,
The Kinks,
Suburban Knight,
The Slackers,
The Alarm Clocks,
The Busters,
Flamin' Groovies,
New Order,
PIL,
Saccharine Trust,
Minor Threat,
Surgeon,
Scott Walker,
Henry Cow,
Yusef Lateef,
Bobby Byrd,
Carl Craig,
Scrapy, Scrapy, Scrapy, Scrapy.
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.