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 Mexico and from Lille.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Warsaw to the techno 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 MC5. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
Avey Tare & Kría Brekkan,
Sun Ra Arkestra,
Arthur Verocai,
David Axelrod,
Essential Logic,
the Bar-Kays,
Connie Case,
Bobby Sherman,
The Slackers,
Harry Pussy,
Flamin' Groovies,
Cymande,
Little Man,
Rahsaan Roland Kirk,
Swans,
Cluster,
The Beau Brummels,
Wasted Youth,
The Durutti Column,
Harmonia,
Kevin Saunderson,
Animal Collective,
Kayak,
The Vogues,
The Smoke,
The Five Americans,
Rekid,
Max Romeo,
a-ha,
Youth Brigade,
Mark Hollis,
Ornette Coleman,
Masters at Work,
Soulsonic Force,
Thee Headcoats,
K-Klass,
The Motions,
The Gories,
Ken Boothe,
Procol Harum,
Rakim,
Japan,
The Names,
Gang Green,
Avey Tare,
Minor Threat,
Terror Squad Feat. Camron,
Iggy Pop,
Roxy Music,
Young Marble Giants,
Bobby Byrd,
Porter Ricks,
Livin' Joy,
Pussy Galore,
Oneida,
Second Layer,
June Days,
Make Up,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.