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 Guinea and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Flamin' Groovies 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 Agitation Free. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Ultravox 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
L. Decosne,
Robert Hood,
R.M.O.,
Fear,
The Fortunes,
Hasil Adkins,
Wasted Youth,
The Fall,
48th St. Collective,
The Names,
the Bar-Kays,
Scratch Acid,
Neil Young & Crazy Horse,
Motorama,
Harmonia,
Lou Reed & John Cale,
Eric Copeland,
Eric B and Rakim,
Moss Icon,
Traffic Nightmare,
Ronnie Foster,
Rosa Yemen,
The Saints,
Pete Rock & C.L. Smooth,
The Mighty Diamonds,
Lindisfarne,
Tears for Fears,
The Moody Blues,
Surgeon,
The Divine Comedy,
Toni Rubio,
Bobby Womack,
Funkadelic,
Warren Ellis,
Y Pants,
Sticky Fingaz feat. Raekwon,
The Busters,
Barry Ungar,
Sällskapet,
Max Romeo,
The Slits,
The Music Machine,
Graham Central Station,
Leonard Cohen,
Erasure,
Stereo Dub,
Bronski Beat,
The Dave Clark Five,
Television,
Gregory Isaacs,
Rahsaan Roland Kirk,
La Düsseldorf,
Soul II Soul,
Camberwell Now,
Bootsy Collins,
The Mojo Men,
Marine Girls,
Swans,
The Knickerbockers,
Black Moon,
Lonnie Liston Smith,
The Mummies, The Mummies, The Mummies, The Mummies.
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.