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 Tanzania and from New York.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Manila 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 theremin 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 Rakim to the techno kids.
I played it at the Roxy.
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 Freddie Wadling. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Moby Grape,
The Fortunes,
Eli Mardock,
Camberwell Now,
Red Lorry Yellow Lorry,
Barbara Tucker,
Dual Sessions,
The Moleskins,
Barrington Levy,
Rosa Yemen,
Sunsets and Hearts,
Swans,
Peter Gordon & Love of Life Orchestra,
Peter & Gordon,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Mills,
The Monks,
Easy Going,
La Düsseldorf,
World's Most,
Fat Boys,
Hoover,
Fear,
Royal Trux,
The Angels of Light,
Gabor Szabo,
Wings,
Soft Machine,
Barclay James Harvest,
Josef K,
MC5,
Orchestral Manoeuvres in the Dark,
New York Dolls,
Pylon,
The Evens,
Godley & Creme,
Metal Thangz,
John Lydon,
Justin Hinds & The Dominoes,
Archie Shepp,
Letta Mbulu,
Japan,
Neil Young,
the Fania All-Stars,
Masters at Work,
Aural Exciters,
Blancmange,
The Beau Brummels,
The Pop Group,
Glambeats Corp.,
AZ,
Larry & the Blue Notes,
Bobby Womack,
Terror Squad Feat. Camron,
48th St. Collective,
Faust,
Ronnie Foster,
Stiv Bators,
Lyres,
The Remains,
The J.B.'s,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.