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 Brunei and from Milan.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 Funkadelic to the rock 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 Hasil Adkins. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Joe Smooth,
Dennis Brown,
Aural Exciters,
Angry Samoans,
Organ,
Drexciya,
Von Mondo,
Reuben Wilson,
Jimmy McGriff,
The Motions,
DJ Style,
Surgeon,
This Heat,
The Durutti Column,
Throbbing Gristle,
Eric Copeland,
Notorious Big And Bone Thugs,
Max Romeo,
Andrew Ashong & Theo Parrish,
Adolescents,
The Dave Clark Five,
The Victims,
Leonard Cohen,
The Black Dice,
Harry Pussy,
Roy Ayers,
Jerry Gold Smith,
Morten Harket,
Black Flag,
Freddie Wadling,
Ornette Coleman,
Marc Romboy vs. Booka Shade,
Lonnie Liston Smith,
Hoover,
Theoretical Girls,
Nas,
Arcadia,
Godley & Creme,
Kauko Röyhkä ja Narttu,
The Doors,
Amon Düül,
Juan Atkins,
James White and The Blacks,
Reagan Youth,
Negative Approach,
Teenage Jesus and the Jerks,
Bobby Byrd,
Guru Guru,
The Star Department,
Connie Case,
The Knickerbockers,
Tres Demented,
Davy DMX,
the Normal,
Scott Walker,
Ronnie Foster,
Heavy D & The Boyz,
Bobby Womack,
Lucky Dragons,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.