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 Oman and from Johannesburg.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Deutsch Amerikanische Freundschaft to the funk kids.
I played it at the Troubador.
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 the Bar-Kays. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Roxette 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
The Moody Blues,
The West Coast Pop Art Experimental Band,
Lonnie Liston Smith,
Rhythim Is Rhythim,
Leonard Cohen,
Jerry Gold Smith,
Danielle Patucci,
X-101,
Albert Ayler,
The Dead C,
Shuggie Otis,
The Cowsills,
Ajijia Myrayebe,
Robert Görl,
Crime,
Davy DMX,
Metal Thangz,
The Fall,
Maleditus Sound,
Gerry Rafferty,
Tomorrow,
Silicon Teens,
Swans,
Bronski Beat,
Stiv Bators,
Fad Gadget,
Technova,
Pulsallama,
Lower 48,
Gichy Dan,
Peter & Gordon,
Notorious Big And Bone Thugs,
Eric Copeland,
Soul II Soul,
Spandau Ballet,
Mark Hollis,
Tim Buckley,
Kas Product,
The Saints,
The Slackers,
Brothers Johnson,
Joe Smooth,
David Axelrod,
Josef K,
Television,
The Birthday Party,
Angels of Light & Akron/Family,
Motorama,
Fat Boys,
Arcadia,
Arthur Verocai,
Radio Birdman,
Yazoo,
Reagan Youth,
Audionom,
Marvin Gaye,
Gary Puckett & The Union Gap,
Quadrant,
Erasure,
Boz Scaggs,
Niagra,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.