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 Poland and from Edmonton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Milan and Mexico City.
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 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 David Bowie 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 10cc to the jazz kids.
I played it at Cafe Wha.
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 In Retrospect. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Brothers Johnson,
Eric Copeland,
Interpol,
Sandy B,
Colin Newman,
Toni Rubio,
Andrew Hill,
Barry Ungar,
Notorious Big And Bone Thugs,
the Fania All-Stars,
The New Christs,
David Axelrod,
The Skatalites,
The Names,
The Moody Blues,
Sällskapet,
Kings Of Tomorrow,
Grauzone,
Minor Threat,
Ultimate Spinach,
Chris & Cosey,
Rowland S Howard / Lydia Lunch,
Scan 7,
The Standells,
Tears for Fears,
Faraquet,
Cameo,
Gang Gang Dance,
Camouflage,
Gil Scott-Heron and Jamie xx,
June Days,
Roxy Music,
Crash Course in Science,
Oneida,
Amazonics,
Magazine,
The Fortunes,
Jesper Dahlback,
H. Thieme,
Babytalk,
Anakelly,
Mad Mike,
Magma,
The Electric Prunes,
Hardrive,
It's A Beautiful Day,
Deakin,
Red Lorry Yellow Lorry,
Mandrill,
Drexciya,
Lou Reed & John Cale,
Dr. Dre and Snoop Doggy Dog,
Young Marble Giants,
The Golliwogs,
Prince Buster,
Arthur Verocai,
The Men They Couldn't Hang,
Agitation Free,
F. McDonald,
Rakim,
The Shadows of Knight,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.