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 Oman and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Manchester 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 theremin 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 John Lydon to the jazz 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 Prince Buster. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
R.M.O.,
Lalo Schifrin,
Kango’s Stein Massive,
Parry Music,
The Blackbyrds,
Groovy Waters,
Sonny Sharrock,
In Retrospect,
Kool Moe Dee,
Curtis Mayfield,
La Düsseldorf,
Little Man,
Qualms,
Mary Jane Girls,
Khruangbin,
Nas,
The Durutti Column,
Byron Stingily,
Amon Düül,
Tim Buckley,
These Immortal Souls,
Chris Corsano,
Roxette,
Lucky Dragons,
Scott Walker,
Joe Finger,
Moebius,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
Bad Manners,
Dawn Penn,
Man Parrish,
Al Stewart,
Deadbeat,
Lebanon Hanover,
Interpol,
Deepchord,
Hashim,
Rod Modell,
The Divine Comedy,
Justin Hinds & The Dominoes,
Cameo,
Bauhaus,
Pierre Henry,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band,
Slick Rick,
Simply Red,
Urselle,
Rekid,
Visionaries,LMNO, T- Love & Iriscience,
Kauko Röyhkä ja Narttu,
Pole,
The Vogues,
Dead Boys,
Negative Approach,
Tom Boy,
Audionom,
Marshall Jefferson,
The Smoke,
Ultra Naté,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.