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 Sri Lanka and from Houston.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Madrid 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 John Holt to the grime 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 Soft Machine. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Bang on a Can All-Stars,
Mark Hollis,
Junior Murvin,
It's A Beautiful Day,
Sound Behaviour,
Television,
Sonny Sharrock,
Malaria!,
Lucky Dragons,
Ultravox,
Gong,
Boz Scaggs,
The Fuzztones,
Kaleidoscope,
Peter & Gordon,
Porter Ricks,
This Heat,
Lalo Schifrin,
Delta 5,
Dark Day,
Zapp,
Dennis Brown,
The Flesh Eaters,
Donald Byrd,
Althea and Donna,
Avey Tare,
New Age Steppers,
Parry Music,
Metal Thangz,
Mission of Burma,
Country Joe & The Fish,
Charles Mingus,
Make Up,
Nick Cave & The Bad Seeds,
The Jesus and Mary Chain,
Lalann,
Robert Hood,
Wire,
Black Moon,
Judy Mowatt,
Faraquet,
Q65,
Ralphi Rosario,
Rowland S Howard / Lydia Lunch,
The Star Department,
Black Flag,
The Seeds,
Easy Going,
Electric Light Orchestra,
Country Teasers,
Pete Rock & C.L. Smooth,
Barrington Levy,
John Lydon,
Bang On A Can,
ABC,
Kings Of Tomorrow,
Sticky Fingaz feat. Raekwon,
Deakin,
The Gun Club,
Lou Reed & John Cale,
Roy Ayers Ubiquity,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.