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 Azerbaijan and from Edmonton.
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 1970.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school Tokyo 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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord 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 Half Japanese to the rock 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 Lungfish. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Flipper,
Public Enemy,
Nas,
Gary Puckett & The Union Gap,
Monks,
Fatback Band,
Intrusion,
Dorothy Ashby,
De La Soul & Jungle Brothers,
Albert Ayler,
Crash Course in Science,
Newcleus,
Blake Baxter,
Notorious BIG live in Amsterdam,
Eve St. Jones,
Camouflage,
Strawberry Alarm Clock,
The Men They Couldn't Hang,
Marvin Gaye,
Faraquet,
Hoover,
Kenny Larkin,
Nirvana,
Lalo Schifrin,
Arab on Radar,
Tubeway Army,
Matthew Halsall,
The Divine Comedy,
Oppenheimer Analysis,
Lalann,
Amon Düül II,
Ohio Players,
Teenage Jesus and the Jerks,
Sonny Sharrock,
Ultramagnetic MC's,
Soft Cell,
The Shadows of Knight,
Nico,
The Angels of Light,
John Lydon,
The Peanut Butter Conspiracy,
Technova,
Rowland S Howard / Lydia Lunch,
Motorama,
Connie Case,
Adolescents,
Section 25,
Roger Hodgson,
Piero Umiliani,
Major Organ And The Adding Machine,
Gong,
Easy Going,
Bang On A Can,
DNA,
Theoretical Girls,
Drexciya,
Dawn Penn,
Yusef Lateef,
Ice-T,
Youth Brigade,
Goldenarms,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.