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 Morocco 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 1963 to 1973.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
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 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 Andrew Hill to the punk 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 Average White Band. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Make Up,
The Gladiators,
The Wake,
Tim Buckley,
Pere Ubu,
London Community Gospel Choir,
New Order,
Traffic Nightmare,
The Jesus and Mary Chain,
Faust,
Sixth Finger,
Pharaoh Sanders and the Fire Engines,
The Martian,
Orchestral Manoeuvres in the Dark,
Brand Nubian,
Slick Rick,
Marc Almond,
Fad Gadget,
Minor Threat,
Tom Boy,
Clear Light,
Sun City Girls,
The Blues Magoos,
Sly & The Family Stone,
Deutsch Amerikanische Freundschaft,
Bobby Byrd,
Bizarre Inc.,
Crash Course in Science,
The Knickerbockers,
The Tremeloes,
Max Romeo,
Dual Sessions,
The Star Department,
Connie Case,
Letta Mbulu,
Altered Images,
Lou Reed & John Cale,
Lonnie Liston Smith,
the Germs,
Quantec,
Skaos,
Arcadia,
Lyres,
PIL,
Notorious BIG live in Amsterdam,
Camouflage,
Excepter,
Panda Bear,
The Mummies,
Peter & Gordon,
Peter and Kerry,
Donald Byrd,
Curtis Mayfield,
Avey Tare's Slasher Flicks,
The Sonics,
The Birthday Party,
the Human League,
Basic Channel,
Simply Red, Simply Red, Simply Red, Simply Red.
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.