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 Gambia and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school New York 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 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 Jawbox to the dance 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 Wings. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Girls At Our Best! 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 '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Country Teasers,
It's A Beautiful Day,
David Bowie,
Bobby Byrd,
Glambeats Corp.,
Lonnie Liston Smith,
La Düsseldorf,
Marvin Gaye,
The Sonics,
Y Pants,
Chris Corsano,
Theoretical Girls,
Babytalk,
Josef K,
Infiniti,
Accadde A,
ABC,
Red Lorry Yellow Lorry,
Swell Maps,
Sad Lovers and Giants,
Donny Hathaway,
The Toasters,
The Modern Lovers,
Skarface,
Scott Walker,
Tommy Roe,
Flipper,
Quantec,
The Residents,
Robert Hood,
Pere Ubu,
The Zeros,
Minnie Riperton,
Fluxion,
X-Ray Spex,
Aswad,
Chrome,
Rapeman,
Scientists,
The New Christs,
Au Pairs,
Buzzcocks,
Flamin' Groovies,
Minor Threat,
Curtis Mayfield,
Roger Hodgson,
Agent Orange,
Moss Icon,
Fort Wilson Riot,
Marc Almond,
Darondo,
Bill Wells,
Harpers Bizarre,
Johnny Clarke,
Absolute Body Control,
Spandau Ballet,
Matthew Bourne,
Kerri Chandler,
Angry Samoans,
The Monks, The Monks, The Monks, The Monks.
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.