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 Bhutan and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
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 oboe 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 Bill Wells to the punk kids.
I played it at the Roxy.
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 The Mighty Diamonds. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
The Blues Magoos,
Slave,
Pulsallama,
The Martian,
The Gories,
Dawn Penn,
Unrelated Segments,
Camron Feat. Jay Z And Juelz,
R.M.O.,
Yazoo,
Black Pus,
the Slits,
Henry Cow,
Kerrie Biddell,
Porter Ricks,
Kool G Rap & DJ Polo,
Ajijia Myrayebe,
Liliput,
De La Soul & Jungle Brothers,
Liaisons Dangereuses,
Heavy D & The Boyz,
X-101,
Jacques Brel,
The United States of America,
Country Teasers,
Boz Scaggs,
Eurythmics,
Glambeats Corp.,
Susan Cadogan,
Agent Orange,
Brand Nubian,
Subhumans,
Public Image Ltd.,
DJ Style,
The Sonics,
Rekid,
Vaughan Mason & Crew,
Harry Pussy,
Robert Görl,
Sun Ra Arkestra,
Crime,
The Fire Engines,
The Dirtbombs,
Pharaoh Sanders and the Fire Engines,
Cabaret Voltaire,
The Neon Judgement,
Wally Richardson,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Nirvana,
Hoover,
Television,
Traffic Nightmare,
Stiv Bators,
Girls At Our Best!,
Easy Going,
Archie Shepp,
Rowland S Howard / Lydia Lunch,
LL Cool J,
The Wake,
Isaac Hayes,
The Standells,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.