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 New Zealand and from Accra.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Houston 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Alphaville to the grunge 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 Rhythim Is Rhythim. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Bill Near,
Jacques Brel,
Sällskapet,
Curtis Mayfield,
48th St. Collective,
The Wake,
Bobbi Humphrey,
Louis and Bebe Barron,
Vladislav Delay,
Ponytail,
Agent Orange,
Bang On A Can,
Camron Feat. Memphis Bleek And Beenie Seigel,
Suburban Knight,
Dorothy Ashby,
Infiniti,
Underground Resistance,
The Modern Lovers,
Barrington Levy,
Neu!,
Al Stewart,
Brand Nubian,
Harmonia,
Unwound,
Newcleus,
Kaleidoscope,
Sexual Harrassment,
Sarah Menescal,
Dead Boys,
Bauhaus,
Strawberry Alarm Clock,
Zero Boys,
Camouflage,
Amon Düül II,
Cecil Taylor,
Swell Maps,
Deakin,
Howard Jones,
Bootsy Collins,
Rapeman,
Matthew Bourne,
Todd Rundgren,
Bad Manners,
The Tremeloes,
The Fortunes,
Heaven 17,
Public Image Ltd.,
Loose Ends,
Radio Birdman,
Josef K,
Bill Wells,
The Golliwogs,
Kool G Rap & DJ Polo,
Camberwell Now,
The Gun Club,
Crispian St. Peters,
AZ,
The Invisible,
Slave,
Justin Hinds & The Dominoes,
Au Pairs,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.