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 Madagascar and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1969 to 1975.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school New York 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 guitar 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 Camron Feat. Memphis Bleek And Beenie Seigel to the electroclash kids.
I played it at CBGB's.
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 Sound. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Orchestral Manoeuvres in the Dark,
Tres Demented,
Patti Smith,
Alice Coltrane,
Camberwell Now,
Mad Mike,
Yazoo,
Franke,
Moss Icon,
Robert Wyatt,
Idris Muhammad,
Television,
Grey Daturas,
Juan Atkins,
Joyce Sims,
Pierre Henry,
Japan,
Basic Channel,
the Soft Cell,
Symarip,
Sunsets and Hearts,
Freddie Wadling,
Marcia Griffiths,
Gil Scott-Heron and Jamie xx,
Sam Rivers,
Skriet,
Delta 5,
The Beau Brummels,
Funkadelic,
Schoolly D,
Wolf Eyes,
Crooked Eye,
Easy Going,
Deepchord,
Man Eating Sloth,
Barry Ungar,
Jeff Lynne,
Lou Christie,
Rowland S Howard / Lydia Lunch,
KRS-One,
Heaven 17,
Larry & the Blue Notes,
Echo & the Bunnymen,
Roger Hodgson,
The Gories,
CMW,
Bobby Womack,
Barrington Levy,
The Divine Comedy,
Wings,
Shuggie Otis,
The Dave Clark Five,
Fear,
Warsaw,
Kango’s Stein Massive,
Reuben Wilson,
Mo-Dettes,
Animal Collective,
Danielle Patucci,
David Bowie,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.