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 Lithuania and from Spokane.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron 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 Joe Finger to the disco 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 Henry Cow. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
The American Breed,
PIL,
Mo-Dettes,
Ponytail,
Mars,
Mandrill,
Roxy Music,
the Slits,
Public Image Ltd.,
Second Layer,
The Mighty Diamonds,
The Blues Magoos,
Jimmy McGriff,
Lou Reed & John Cale,
Lalo Schifrin,
Sex Pistols,
Man Eating Sloth,
Rotary Connection,
Howard Jones,
Fela Kuti,
Vainqueur,
Arthur Verocai,
Los Fastidios,
Gerry Rafferty,
Dennis Brown,
Arcadia,
The Real Kids,
La Düsseldorf,
Wally Richardson,
Joensuu 1685,
Donny Hathaway,
Moebius,
Sly & The Family Stone,
Harmonia,
X-102,
Fugazi,
Wasted Youth,
Pussy Galore,
Crime,
The Toasters,
Chrome,
Crooked Eye,
The Dead C,
Fat Boys,
The Kinks,
The Stooges,
Drexciya,
The Associates,
L. Decosne,
Jeru the Damaja,
Big Daddy Kane,
Sunsets and Hearts,
The Litter,
Tomorrow,
Camberwell Now,
H. Thieme,
Crash Course in Science,
The Gories,
Pete Rock & C.L. Smooth,
Oneida,
Liaisons Dangereuses,
Gong, Gong, Gong, Gong.
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.