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 Peru and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Tokyo 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 snare 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 Lee Hazlewood to the grime kids.
I played it at Trash.
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 Ponytail. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
The Music Machine,
New York Dolls,
Fluxion,
Red Lorry Yellow Lorry,
The Slackers,
Rowland S Howard / Lydia Lunch,
Bob Dylan,
Pete Rock & C.L. Smooth,
Underground Resistance,
Sister Nancy,
Lou Christie,
Lucky Dragons,
Laurel Aitken,
Jawbox,
Sight & Sound,
Cymande,
The Standells,
Black Pus,
John Lydon,
Albert Ayler,
Spandau Ballet,
The Gories,
Bobby Byrd,
Chris Corsano,
The Evens,
Nas,
Jeru the Damaja,
Aaron Thompson,
Kings Of Tomorrow,
Von Mondo,
Mantronix,
One Last Wish,
The Residents,
Hashim,
Lou Reed & John Cale,
Mars,
Ajijia Myrayebe,
Lalo Schifrin,
Brass Construction,
F. McDonald,
Minutemen,
Monolake,
Kurtis Blow,
Colin Newman,
The Royal Family And The Poor,
Trumans Water,
The Techniques,
Visionaries,LMNO, T- Love & Iriscience,
Gang Green,
James White and The Blacks,
the Human League,
The Names,
Brick,
Graham Central Station,
Cabaret Voltaire,
Infiniti,
Gang Starr,
Man Parrish,
Simply Red,
The Birthday Party,
James Chance & The Contortions,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.