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 Sudan 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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the güiro 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rap kids.
I played it at Trash.
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 Althea and Donna. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Goldenarms 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Barclay James Harvest,
The Toasters,
Lyres,
Pole,
Sällskapet,
Joe Finger,
Marshall Jefferson,
Sound Behaviour,
The Star Department,
Dual Sessions,
Jeff Lynne,
Franke,
Nik Kershaw,
The Sound,
The Gladiators,
The Last Poets,
Shoche,
Absolute Body Control,
The Velvet Underground,
Swans,
The Mojo Men,
Schoolly D,
Ornette Coleman,
The Dave Clark Five,
The Selecter,
Interpol,
Supertramp,
R.M.O.,
Harry Pussy,
New Age Steppers,
Kerrie Biddell,
Stockholm Monsters,
Bronski Beat,
Visage,
The Cowsills,
DJ Sneak,
Cluster,
New York Dolls,
Rhythm & Sound,
Moebius,
Inner City,
The Detroit Cobras,
8 Eyed Spy,
Country Joe & The Fish,
ABBA,
Skaos,
Slick Rick,
Angels of Light & Akron/Family,
Trumans Water,
The Grass Roots,
Yellowson,
Captain Beefheart & His Magic Band,
Dead Boys,
Eli Mardock,
The Busters,
Tom Boy,
Clear Light,
LL Cool J,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Zapp,
Youth Brigade,
Wire,
The Names,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.