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 Portugal and from Bremen.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 The Music Machine to the rock kids.
I played it at Cafe Wha.
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 Lalo Schifrin. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every The Real Kids 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Blackbyrds,
Suburban Knight,
Skriet,
Bobby Hutcherson,
Brick,
Thinking Fellers Union Local 282,
Masters at Work,
E-Dancer,
The Gladiators,
Black Pus,
Man Eating Sloth,
Monolake,
Harpers Bizarre,
Quando Quango,
Brand Nubian,
Judy Mowatt,
Mission of Burma,
Pantaleimon,
Alton Ellis,
Gabor Szabo,
Ultra Naté,
In Retrospect,
Dark Day,
Model 500,
Nick Fraelich,
The Modern Lovers,
Depeche Mode,
The United States of America,
Siglo XX,
Second Layer,
Vainqueur,
Kool G Rap & DJ Polo,
Section 25,
Warsaw,
Robert Görl,
Ultravox,
Peter Gordon & Love of Life Orchestra,
Hasil Adkins,
Donny Hathaway,
The Doors,
Pierre Henry,
Stockholm Monsters,
Nas,
Camberwell Now,
Das Ding,
Teenage Jesus and the Jerks,
Accadde A,
Tim Buckley,
Cabaret Voltaire,
Outsiders,
MDC,
Stiv Bators,
The Cowsills,
Sly & The Family Stone,
Nik Kershaw,
cv313,
The Dave Clark Five,
Ponytail,
Smog,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.