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 Tajikistan and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Calgary and Toronto.
I'm losing my edge to the art-school Philadelphia 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Thompson Twins to the punk 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 Public Enemy. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt 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?
Alton Ellis,
The Golliwogs,
Flamin' Groovies,
Junior Murvin,
Nick Fraelich,
Steve Hackett,
Gang Starr,
Tubeway Army,
Idris Muhammad,
The Last Poets,
Captain Beefheart & His Magic Band,
Graham Central Station,
The Black Dice,
Arcadia,
Traffic Nightmare,
Smog,
Intrusion,
Khruangbin,
Peter & Gordon,
Sex Pistols,
Unwound,
Kenny Larkin,
Lou Reed & John Cale,
Jeff Mills,
Rufus Thomas,
The Searchers,
Yaz,
Orchestral Manoeuvres in the Dark,
Lonnie Liston Smith,
Procol Harum,
Albert Ayler,
the Bar-Kays,
Kayak,
Brass Construction,
The Busters,
A Certain Ratio,
Negative Approach,
La Düsseldorf,
Fela Kuti,
James Chance & The Contortions,
The Buckinghams,
Tears for Fears,
New Age Steppers,
Gabor Szabo,
Hot Snakes,
10cc,
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Accadde A,
Sonny Sharrock,
Röyhkä ja Rättö ja Lehtisalo,
Oppenheimer Analysis,
Mary Jane Girls,
Grey Daturas,
Youth Brigade,
Gil Scott Heron,
Crime,
Q65,
Tropical Tobacco,
48th St. Collective,
Tom Boy,
Quando Quango,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.