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 Korea North and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1967 to 1972.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Yusef Lateef to the funk kids.
I played it at the 40 Watt.
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 Deadbeat. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Gregory Isaacs,
Electric Prunes,
Terrestrial Tones,
Kurtis Blow,
Roxy Music,
The Stooges,
Morten Harket,
Alison Limerick,
Make Up,
Warren Ellis,
Jacques Brel,
Black Sheep,
The Cosmic Jokers,
John Lydon,
Kauko Röyhkä ja Narttu,
The Knickerbockers,
OOIOO,
The Monks,
R.M.O.,
Ohio Players,
De La Soul & Jungle Brothers,
Sixth Finger,
Pere Ubu,
Gil Scott Heron,
Young Marble Giants,
Newcleus,
Sun City Girls,
Dual Sessions,
The Men They Couldn't Hang,
Pierre Henry,
In Retrospect,
Pussy Galore,
Average White Band,
The Barracudas,
Eve St. Jones,
Idris Muhammad,
The Victims,
The Selecter,
London Community Gospel Choir,
Simply Red,
Althea and Donna,
Susan Cadogan,
Hardrive,
Eddi Front,
Sparks,
Swans,
Oppenheimer Analysis,
Ronan,
Minor Threat,
The Peanut Butter Conspiracy,
Pete Rock & C.L. Smooth,
Unrelated Segments,
The Offenders,
Parry Music,
Yusef Lateef,
X-102,
Second Layer,
Beasts of Bourbon,
Stockholm Monsters,
Faraquet,
Interpol,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.