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 Russia and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Theoretical Girls to the electroclash 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 Heavy D & The Boyz. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Black Bananas record on German import.
I heard that you have a white label of every seminal electroclash 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 a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Liliput,
Ohio Players,
Aural Exciters,
Delon & Dalcan,
Ice-T,
The Smiths,
Jandek,
Kas Product,
Erasure,
Stereo Dub,
Drexciya,
Mad Mike,
Pete Rock & C.L. Smooth,
Audionom,
Bauhaus,
Pharoah Sanders,
Steve Hackett,
Camberwell Now,
Boz Scaggs,
Tomorrow,
Robert Görl,
Kool G Rap & DJ Polo,
Aloha Tigers,
The Grass Roots,
Can,
Banda Bassotti,
Von Mondo,
Black Bananas,
Lalann,
Kaleidoscope,
8 Eyed Spy,
Kings Of Tomorrow,
Fela Kuti,
the Soft Cell,
Marcia Griffiths,
Y Pants,
The New Christs,
Slave,
The Invisible,
The Trojans,
Bizarre Inc.,
Black Flag,
Main Source,
Ituana,
Michelle Simonal,
The Remains,
It's A Beautiful Day,
Jesper Dahlbäck,
Patti Smith,
Be Bop Deluxe,
Bobbi Humphrey,
The Searchers,
Swell Maps,
48th St. Collective,
Larry & the Blue Notes,
Rhythm & Sound,
Franke,
10cc,
Khruangbin,
Erykah Badu,
Eyeless In Gaza,
Warsaw,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.