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 Lesotho and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Gil Scott-Heron & Brian Jackson to the dance 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 Hoover. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Sun Ra Arkestra,
The Moleskins,
Crooked Eye,
Quadrant,
Mandrill,
The Last Poets,
Flamin' Groovies,
Freddie Wadling,
Kaleidoscope,
Simply Red,
X-Ray Spex,
Graham Central Station,
Stiv Bators,
World's Most,
Kerrie Biddell,
Pulsallama,
Aswad,
Black Sheep,
The Young Rascals,
Lower 48,
Bizarre Inc.,
Mark Hollis,
Bill Near,
Y Pants,
Essential Logic,
Byron Stingily,
the Association,
Wally Richardson,
Cymande,
Blossom Toes,
Angels of Light & Akron/Family,
Gang Starr,
Junior Murvin,
The Mojo Men,
The Dead C,
The Evens,
Soft Cell,
The Angels of Light,
The Beau Brummels,
Todd Rundgren,
The Doors,
Pete Rock & C.L. Smooth,
Glenn Branca,
Section 25,
Tears for Fears,
Susan Cadogan,
De La Soul & Jungle Brothers,
Marc Romboy vs. Booka Shade,
London Community Gospel Choir,
Terror Squad Feat. Camron,
the Normal,
DJ Sneak,
Gang Gang Dance,
Fad Gadget,
Scientists,
The Searchers,
Chrome,
Grandmaster Flash,
The Leaves,
The Tremeloes,
Amon Düül II,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.