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 Nauru and from Bologna.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Kango’s Stein Massive to the jazz kids.
I played it at the Roxy.
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 Colin Newman. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal techno 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 a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Brass Construction,
Jacques Brel,
Rekid,
James White and The Blacks,
Yellowson,
Sticky Fingaz feat. Raekwon,
Darondo,
It's A Beautiful Day,
Roxy Music,
Sonny Sharrock,
Stiv Bators,
Bootsy's Rubber Band,
Scott Walker,
KRS-One,
Ultimate Spinach,
Country Joe & The Fish,
Soul II Soul,
Trumans Water,
Fluxion,
Lalann,
Saccharine Trust,
De La Soul & Jungle Brothers,
Piero Umiliani,
The Saints,
Q and Not U,
The West Coast Pop Art Experimental Band,
Hoover,
David Bowie,
The Move,
The Blues Magoos,
Royal Trux,
Tears for Fears,
Nils Olav,
Rakim,
Bobby Hutcherson,
Nas,
Isaac Hayes,
Adolescents,
Donny Hathaway,
Amazonics,
Spoonie Gee,
The Alarm Clocks,
Tim Buckley,
Fatback Band,
Jandek,
The Gun Club,
the Human League,
L. Decosne,
Dead Boys,
Hasil Adkins,
Alton Ellis,
Ajijia Myrayebe,
The Five Americans,
Bobby Womack,
Heavy D & The Boyz,
Bush Tetras,
Hashim,
Wire,
Ponytail, Ponytail, Ponytail, Ponytail.
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.