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 Taiwan and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Houston.
I'm losing my edge to the art-school Shanghai 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Bronski Beat to the dance kids.
I played it at the Hacienda.
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 The Pretty Things. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Tommy Roe,
Stetsasonic,
Wally Richardson,
The Buckinghams,
Bluetip,
The Vogues,
Gil Scott-Heron & Brian Jackson,
Ultravox,
Pierre Henry,
Jesper Dahlback,
The Durutti Column,
Bobby Sherman,
The Fortunes,
The Searchers,
Soul II Soul,
Dennis Brown,
Lindisfarne,
Aswad,
The Names,
Jeff Mills,
Aaron Thompson,
The Barracudas,
Echo & the Bunnymen,
Minny Pops,
Mandrill,
Groovy Waters,
Spandau Ballet,
The Modern Lovers,
Bill Near,
Prince Buster,
Leonard Cohen,
Television Personalities,
Alison Limerick,
Eric Copeland,
Camberwell Now,
Desert Stars,
Chrome,
Babytalk,
Mars,
Sly & The Family Stone,
Larry & the Blue Notes,
Hasil Adkins,
Model 500,
Orchestral Manoeuvres in the Dark,
The Grass Roots,
PIL,
Inner City,
Ken Boothe,
Oppenheimer Analysis,
It's A Beautiful Day,
Reagan Youth,
The Toasters,
Eric B and Rakim,
Heaven 17,
June Days,
Kool G Rap & DJ Polo,
The Fugs,
New Age Steppers,
Wings,
Harmonia,
Bang on a Can All-Stars,
The Standells,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.