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 Samoa and from Lille.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Kango’s Stein Massive to the dance kids.
I played it at CBGB's.
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 Avey Tare. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every The Fire Engines 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Ice-T,
Agitation Free,
Bizarre Inc.,
Carl Craig,
Quando Quango,
The Wake,
Can,
The West Coast Pop Art Experimental Band,
Unwound,
Jeru the Damaja,
Negative Approach,
Deutsch Amerikanische Freundschaft,
Eric Dolphy,
Bobbi Humphrey,
Bronski Beat,
Magma,
Hoover,
Skaos,
Sunsets and Hearts,
Nas,
Arcadia,
Neil Young,
Amon Düül II,
Terry Callier,
The Trojans,
Kaleidoscope,
Deepchord,
K-Klass,
Nation of Ulysses,
John Holt,
Anthony Braxton,
10cc,
Bang on a Can All-Stars,
Angry Samoans,
Ten City,
Liaisons Dangereuses,
Thee Headcoats,
Dual Sessions,
The Slits,
World's Most,
F. McDonald,
The Searchers,
Minnie Riperton,
Icehouse,
Cymande,
X-102,
Zapp,
Gabor Szabo,
Slave,
48th St. Collective,
Sight & Sound,
Swell Maps,
Minor Threat,
Blancmange,
Judy Mowatt,
Shuggie Otis,
The Five Americans,
Eve St. Jones,
Bad Manners,
Joy Division,
A Flock of Seagulls,
Easy Going,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.