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 Kosovo 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 1964 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Woodstock.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 Niagra to the electroclash kids.
I played it at the Astoria.
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 Judy Mowatt. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every World's Most 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter 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?
Roxy Music,
June Days,
Bill Near,
Byron Stingily,
Strawberry Alarm Clock,
The Remains,
Pantytec,
The Modern Lovers,
The Fortunes,
Boz Scaggs,
Pharaoh Sanders and the Fire Engines,
Yellowson,
The Pretty Things,
Tropical Tobacco,
Matthew Halsall,
Cameo,
Visage,
The Chocolate Watch Band,
The Barracudas,
Toni Rubio,
Gerry Rafferty,
Joey Negro,
Bad Manners,
Jacques Brel,
Scion,
Bizarre Inc.,
Sunsets and Hearts,
Gastr Del Sol,
Eric Copeland,
DJ Sneak,
Donald Byrd,
Art Ensemble Of Chicago,
The Neon Judgement,
Carl Craig,
June of 44,
Girls At Our Best!,
Robert Görl,
Soul II Soul,
Graham Central Station,
Lou Reed & Metallica,
Q and Not U,
Supertramp,
U.S. Maple,
Lonnie Liston Smith,
Roy Ayers Ubiquity,
The Searchers,
Silicon Teens,
H. Thieme,
Skarface,
Captain Beefheart & His Magic Band,
The Gap Band,
Swans,
Teenage Jesus and the Jerks,
Warsaw,
Isaac Hayes,
UT,
Parry Music,
Public Enemy,
Schoolly D,
Justin Hinds & The Dominoes,
10cc, 10cc, 10cc, 10cc.
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.