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 Malaysia and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Lagos.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Lou Reed to the grime kids.
I played it at Cafe Wha.
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 Bauhaus. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal rap 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Bluetip,
Peter & Gordon,
The Five Americans,
Chris & Cosey,
Cybotron,
Vainqueur,
The Doors,
Deadbeat,
The Selecter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
EPMD,
Freddie Wadling,
Johnny Osbourne,
Rekid,
The Alarm Clocks,
Soulsonic Force,
The Real Kids,
Supertramp,
Brand Nubian,
Harry Pussy,
Visage,
Ralphi Rosario,
The Blues Magoos,
48th St. Collective,
Yusef Lateef,
Bobby Sherman,
Little Man,
Sparks,
Ronan,
Funkadelic,
World's Most,
Eurythmics,
Scott Walker,
Blossom Toes,
Livin' Joy,
Maurizio,
Joe Finger,
Yellowson,
John Cale,
New York Dolls,
Neu!,
Angels of Light & Akron/Family,
Grauzone,
Colin Newman,
Gichy Dan,
New Age Steppers,
The Fortunes,
Wally Richardson,
Louis and Bebe Barron,
The Buckinghams,
Rufus Thomas,
Spandau Ballet,
Nils Olav,
The Neon Judgement,
Smog,
China Crisis,
Max Romeo,
FM Einheit,
Yaz,
Pharaoh Sanders and the Fire Engines,
Lizzy Mercier Descloux,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.