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 Palau and from London.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Delhi 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 sitar sounds with much patience.
I was there when Lou Reed 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 Leonard Cohen to the rap kids.
I played it at the Spitz.
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 Crash Course in Science. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
UT,
The Evens,
Sad Lovers and Giants,
New Age Steppers,
Joe Finger,
Urselle,
Pole,
Thompson Twins,
Rahsaan Roland Kirk,
Bang On A Can,
Section 25,
Harpers Bizarre,
Sound Behaviour,
Shuggie Otis,
Pussy Galore,
Desert Stars,
Cecil Taylor,
Stetsasonic,
The Stooges,
Byron Stingily,
Eli Mardock,
New York Dolls,
Wasted Youth,
Jerry Gold Smith,
Radio Birdman,
Notorious Big And Bone Thugs,
Visage,
Alton Ellis,
Gerry Rafferty,
June Days,
Joensuu 1685,
The Durutti Column,
Blossom Toes,
Yazoo,
Minnie Riperton,
Eyeless In Gaza,
Angels of Light & Akron/Family,
The New Christs,
The Fortunes,
Procol Harum,
Cabaret Voltaire,
John Coltrane,
Bobby Hutcherson,
Juan Atkins,
The Mojo Men,
The Star Department,
Tubeway Army,
Alice Coltrane,
The Mummies,
Dead Boys,
Aaron Thompson,
Kool Moe Dee,
the Soft Cell,
Sly & The Family Stone,
Idris Muhammad,
Organ,
Robert Görl,
Jeru the Damaja,
Swans,
Loose Ends,
World's Most,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.