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 Colombia and from Cairo.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
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 Soft Boys practice in a loft in Cambridge.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Schoolly D to the dance kids.
I played it at the Spitz.
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 Deakin. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Tom Boy 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
X-101,
Jawbox,
Soft Machine,
Idris Muhammad,
David Axelrod,
Masters at Work,
Grauzone,
E-Dancer,
Oppenheimer Analysis,
The Star Department,
The United States of America,
Pulsallama,
Skriet,
Ken Boothe,
Livin' Joy,
Wasted Youth,
Young Marble Giants,
T.S.O.L.,
Man Parrish,
Dorothy Ashby,
Girls At Our Best!,
Eddi Front,
LL Cool J,
Johnny Osbourne,
Lyres,
Eric Copeland,
Bang On A Can,
Swell Maps,
Visionaries,LMNO, T- Love & Iriscience,
Susan Cadogan,
La Düsseldorf,
Subhumans,
Lou Reed & Metallica,
Soft Cell,
Rotary Connection,
Derrick Morgan,
Gichy Dan,
a-ha,
Lungfish,
Aswad,
The Fugs,
Lalann,
Amon Düül,
UT,
Robert Wyatt,
Slick Rick,
The Toasters,
Harry Pussy,
Negative Approach,
Ultravox,
kango's stein massive,
U.S. Maple,
Charles Mingus,
Rhythm & Sound,
Josef K,
The Fall,
Country Teasers,
Kerrie Biddell,
Mandrill,
Joe Finger,
Radiopuhelimet,
Au Pairs,
MDC, MDC, MDC, MDC.
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.