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 Cape Verde and from Madrid.
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 New York and Madrid.
I'm losing my edge to the art-school Shanghai 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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Radiopuhelimet to the punk 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 Faraquet. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
B.T. Express,
Pulsallama,
Kas Product,
Absolute Body Control,
James Chance & The Contortions,
Magazine,
The Flesh Eaters,
Bobbi Humphrey,
Marcia Griffiths,
Kurtis Blow,
Aaron Thompson,
Donny Hathaway,
The Red Krayola,
Hoover,
Cybotron,
Rhythim Is Rhythim,
Rufus Thomas,
Ken Boothe,
Ornette Coleman,
Terrestrial Tones,
Los Fastidios,
Sister Nancy,
In Retrospect,
Unwound,
World's Most,
Index,
The Skatalites,
The Detroit Cobras,
kango's stein massive,
The Star Department,
Kaleidoscope,
Brand Nubian,
Jimmy McGriff,
Intrusion,
Man Parrish,
Blancmange,
Stiv Bators,
Gabor Szabo,
Arthur Verocai,
Skaos,
Shoche,
Stetsasonic,
Stereo Dub,
The Birthday Party,
The Vogues,
Robert Görl,
Jacob Miller,
Gichy Dan,
Kango’s Stein Massive,
The Divine Comedy,
Wire,
Dual Sessions,
Marshall Jefferson,
ABBA,
Gil Scott-Heron and Jamie xx,
Anthony Braxton,
Mars,
Eve St. Jones,
Lindisfarne,
A Flock of Seagulls,
Tears for Fears,
Larry & the Blue Notes,
Neil Young, Neil Young, Neil Young, Neil Young.
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.