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 Tuvalu and from Edmonton.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Madrid 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Bobby Byrd to the techno 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 Mark Hollis. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Fad Gadget 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Pharaoh Sanders and the Fire Engines,
London Community Gospel Choir,
La Düsseldorf,
Bill Near,
The Fire Engines,
Gang of Four,
Pantaleimon,
Anthony Braxton,
Fatback Band,
Girls At Our Best!,
Warren Ellis,
Gang Gang Dance,
U.S. Maple,
Skaos,
Glenn Branca,
Country Joe & The Fish,
Big Daddy Kane,
Pharoah Sanders,
Kayak,
Scott Walker + Sunn O))),
Blossom Toes,
the Soft Cell,
Guru Guru,
Peter Gordon & Love of Life Orchestra,
Jerry Gold Smith,
Avey Tare & Kría Brekkan,
X-Ray Spex,
Hashim,
ABC,
Unrelated Segments,
Tomorrow,
Drexciya,
Crime,
Alice Coltrane,
Oppenheimer Analysis,
Soul Sonic Force,
Leonard Cohen,
The Vogues,
The Standells,
Fear,
June of 44,
Laurel Aitken,
Kings Of Tomorrow,
Hasil Adkins,
Chrome,
The Real Kids,
Stockholm Monsters,
Wolf Eyes,
Avey Tare's Slasher Flicks,
Röyhkä ja Rättö ja Lehtisalo,
Alphaville,
Angels of Light & Akron/Family,
The Gories,
The Doobie Brothers,
The Mighty Diamonds,
DeepChord presents Echospace,
The Zeros,
JFA,
Red Lorry Yellow Lorry,
Crispy Ambulance,
Aloha Tigers,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.