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 Italy and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1972.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Mexico City 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 sitar 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 David Axelrod to the disco kids.
I played it at the Crocodile.
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 Index. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Sixth Finger,
Intrusion,
Deadbeat,
Procol Harum,
Thee Headcoats,
Cameo,
The Pretty Things,
Little Man,
The Red Krayola,
Minnie Riperton,
Gichy Dan,
Sunsets and Hearts,
One Last Wish,
Country Joe & The Fish,
ABBA,
The Busters,
Half Japanese,
Derrick Morgan,
Shuggie Otis,
Jerry's Kids,
Television,
Saccharine Trust,
The Moody Blues,
ABC,
Oneida,
Gil Scott-Heron & Brian Jackson,
The Invisible,
The J.B.'s,
Eurythmics,
Ronnie Foster,
Fugazi,
Los Fastidios,
Main Source,
Wasted Youth,
Tim Buckley,
Brick,
Gang Starr,
Strawberry Alarm Clock,
Rosa Yemen,
The Cure,
E-Dancer,
The Beau Brummels,
Gil Scott-Heron and Jamie xx,
Althea and Donna,
James Chance & The Contortions,
Stereo Dub,
Tears for Fears,
The Walker Brothers,
LL Cool J,
Make Up,
Royal Trux,
Das Ding,
Inner City,
The Happenings,
Pulsallama,
Underground Resistance,
a-ha,
June Days,
The Music Machine,
Joensuu 1685,
Cymande,
Barclay James Harvest,
Black Moon, Black Moon, Black Moon, Black Moon.
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.