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 Niger and from Glasgow.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Kurtis Blow to the grime 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 Jimmy McGriff. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Donald Byrd 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Henry Cow,
Barbara Tucker,
The Black Dice,
The Doors,
Sun City Girls,
Barclay James Harvest,
The Sisters of Mercy,
Dr. Dre and Snoop Doggy Dog,
Eyeless In Gaza,
Deakin,
Maurizio,
Bootsy's Rubber Band,
Slave,
Niagra,
In Retrospect,
Youth Brigade,
Q65,
48th St. Collective,
The Jesus and Mary Chain,
Girls At Our Best!,
John Holt,
Faust,
Josef K,
Fad Gadget,
Trumans Water,
Mandrill,
Public Enemy,
Von Mondo,
Royal Trux,
Little Man,
Lou Reed & John Cale,
The Real Kids,
Goldenarms,
The Trojans,
The Dead C,
Bob Dylan,
Marmalade,
Massinfluence,
Marc Almond,
Mad Mike,
Los Fastidios,
Jacob Miller,
Hardrive,
Sight & Sound,
Lucky Dragons,
Johnny Clarke,
Iggy Pop,
the Human League,
The Red Krayola,
This Heat,
The Vogues,
Todd Terry,
Oblivians,
Dual Sessions,
Kerri Chandler,
The Music Machine,
Ajijia Myrayebe,
The Royal Family And The Poor,
Mo-Dettes,
Minny Pops,
Outsiders, Outsiders, Outsiders, Outsiders.
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.