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 Laos and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Seoul.
I'm losing my edge to the art-school Lyon 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 marimba 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 Tom Boy to the dance 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 Mr. Review. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
CMW,
Radiopuhelimet,
Average White Band,
Adolescents,
Technova,
Sight & Sound,
Joyce Sims,
The Real Kids,
The Beau Brummels,
The Stooges,
Kool Moe Dee,
Scion,
Kauko Röyhkä ja Narttu,
Angels of Light & Akron/Family,
The Residents,
Boogie Down Productions,
Stiv Bators,
Bad Manners,
Fela Kuti,
Radiohead,
The Fall,
It's A Beautiful Day,
Kerri Chandler,
John Holt,
Richard Hell and the Voidoids,
Eddi Front,
Stetsasonic,
Amon Düül,
DNA,
Dual Sessions,
Manfred Mann's Earth Band,
Letta Mbulu,
Wolf Eyes,
Althea and Donna,
The Gap Band,
Outsiders,
Gong,
Freddie Wadling,
Saccharine Trust,
the Association,
Jeru the Damaja,
The Slits,
Barry Ungar,
E-Dancer,
Cal Tjader,
Marmalade,
David Axelrod,
Peter & Gordon,
Echo & the Bunnymen,
The Blues Magoos,
Neil Young & Crazy Horse,
The Music Machine,
The Trojans,
Sex Pistols,
Quando Quango,
Yellowson,
The Divine Comedy,
Girls At Our Best!,
Delta 5,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.