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 Kiribati and from Hong Kong.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Tehran 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 Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 The Trojans to the disco 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 James White and The Blacks. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Strawberry Alarm Clock,
John Foxx,
Althea and Donna,
Icehouse,
The Cure,
Jesper Dahlbäck,
Negative Approach,
Gil Scott-Heron & Brian Jackson,
The Real Kids,
Tomorrow,
Monks,
Q and Not U,
DNA,
Lalann,
Television,
H. Thieme,
Black Sheep,
Fifty Foot Hose,
Ornette Coleman,
Scratch Acid,
The Associates,
Neil Young,
A Certain Ratio,
Crash Course in Science,
The Selecter,
Fort Wilson Riot,
Procol Harum,
the Fania All-Stars,
Kas Product,
Cymande,
Shuggie Otis,
Howard Jones,
Livin' Joy,
Rakim,
The Barracudas,
Todd Rundgren,
James Chance & The Contortions,
Radiohead,
Max Romeo,
Fugazi,
Joe Smooth,
Deakin,
Bobby Sherman,
The Searchers,
Goldenarms,
Sparks,
Lou Reed & John Cale,
Girls At Our Best!,
Japan,
Lower 48,
New York Dolls,
a-ha,
Junior Murvin,
Toni Rubio,
Radio Birdman,
Traffic Nightmare,
Nation of Ulysses,
Underground Resistance,
Soul II Soul,
Chris Corsano,
B.T. Express,
Monolake,
EPMD,
Parry Music, Parry Music, Parry Music, Parry Music.
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.