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 Venezuela and from Seoul.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Bologna 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Lakeside to the dance kids.
I played it at the Spitz.
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 John Lydon. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers 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?
The J.B.'s,
David Axelrod,
Lafayette Afro Rock Band,
Max Romeo,
Gastr Del Sol,
Country Joe & The Fish,
Lungfish,
Ajijia Myrayebe,
Joe Smooth,
The Sisters of Mercy,
ABBA,
Jacob Miller,
The Seeds,
Ultra Naté,
Gabor Szabo,
Major Organ And The Adding Machine,
Audionom,
Ten City,
Boz Scaggs,
Derrick Morgan,
Ash Ra Tempel,
Bobby Sherman,
Isaac Hayes,
Nik Kershaw,
The Remains,
Amon Düül,
Alton Ellis,
Dark Day,
Fugazi,
Robert Görl,
This Heat,
Bronski Beat,
Barry Ungar,
The Pretty Things,
Ultramagnetic MC's,
Camberwell Now,
The Motions,
the Association,
Byron Stingily,
Cameo,
Tres Demented,
Bobby Byrd,
Basic Channel,
The West Coast Pop Art Experimental Band,
Pantytec,
Slick Rick,
Throbbing Gristle,
Agitation Free,
Clear Light,
Kurtis Blow,
In Retrospect,
Brass Construction,
Television Personalities,
Intrusion,
Big Daddy Kane,
Pete Rock & C.L. Smooth,
Manfred Mann's Earth Band,
Amon Düül II,
Notorious BIG live in Amsterdam,
the Swans,
The Star Department,
Sparks,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.