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 Syria and from New York.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Jerry Gold Smith to the electroclash kids.
I played it at the 40 Watt.
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 Fluxion. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Bizarre Inc.,
Blake Baxter,
The Associates,
Barrington Levy,
Procol Harum,
Neil Young & Crazy Horse,
Dual Sessions,
Mad Mike,
Scion,
Half Japanese,
Cabaret Voltaire,
the Swans,
Mission of Burma,
Rotary Connection,
Neu!,
Absolute Body Control,
Joe Finger,
Slave,
Leonard Cohen,
Jeru the Damaja,
Gil Scott Heron,
Organ,
The Shadows of Knight,
Todd Terry,
Television,
Grandmaster Flash and the Furious Five,
The Dead C,
Ultimate Spinach,
Surgeon,
Bill Wells,
Michelle Simonal,
Groovy Waters,
Cal Tjader,
Morten Harket,
Janne Schatter,
Unrelated Segments,
Alphaville,
The Saints,
Lindisfarne,
Fatback Band,
Altered Images,
Public Enemy,
Tom Boy,
Alison Limerick,
Siouxsie and the Banshees,
Kings Of Tomorrow,
Avey Tare & Kría Brekkan,
Man Parrish,
Rahsaan Roland Kirk,
Pantytec,
Scan 7,
Sun Ra Arkestra,
Sonny Sharrock,
Oppenheimer Analysis,
Franke,
48th St. Collective,
Icehouse,
James White and The Blacks,
Cymande,
Bluetip, Bluetip, Bluetip, Bluetip.
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.