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 Sweden and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1973.
I'm losing my edge.
To all the kids in Lille and Paris.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Bob Dylan to the grime kids.
I played it at the Troubador.
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 Barracudas. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Rapeman,
James White and The Blacks,
Gary Puckett & The Union Gap,
Sound Behaviour,
The Slackers,
Richard Hell and the Voidoids,
New York Dolls,
Johnny Osbourne,
The Trojans,
The Star Department,
Godley & Creme,
Fear,
ABBA,
The Leaves,
The Skatalites,
Bobby Byrd,
Liaisons Dangereuses,
Avey Tare's Slasher Flicks,
Nik Kershaw,
Half Japanese,
The Jesus and Mary Chain,
Graham Central Station,
Man Eating Sloth,
The Young Rascals,
Arcadia,
Moebius,
KRS-One,
Terror Squad Feat. Camron,
Technova,
The Remains,
The Electric Prunes,
Boogie Down Productions,
Rod Modell,
Joyce Sims,
The Techniques,
Aswad,
Negative Approach,
The New Christs,
Morten Harket,
Brick,
The Misunderstood,
Fort Wilson Riot,
Desert Stars,
The Knickerbockers,
Tommy Roe,
Eric B and Rakim,
Lyres,
Index,
Bluetip,
Fugazi,
Gastr Del Sol,
Sunsets and Hearts,
Susan Cadogan,
D'Angelo,
The Tremeloes,
Model 500,
Parry Music,
Amon Düül,
Eric Dolphy,
Jacques Brel,
Grandmaster Flash and the Furious Five,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.