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 Costa Rica and from Madrid.
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 1964 to 1979.
I'm losing my edge.
To all the kids in London and Milan.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Graham Central Station to the funk kids.
I played it at the Crocodile.
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 Glambeats Corp.. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Crispian St. Peters 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Barry Ungar,
The Fortunes,
Public Enemy,
The Fuzztones,
The Royal Family And The Poor,
a-ha,
Goldenarms,
Delon & Dalcan,
Connie Case,
The Fugs,
Yusef Lateef,
Soulsonic Force,
Section 25,
Isaac Hayes,
Adolescents,
The Motions,
Derrick Morgan,
Glenn Branca,
Quantec,
Icehouse,
Easy Going,
Metal Thangz,
The Men They Couldn't Hang,
K-Klass,
Shoche,
Dorothy Ashby,
Soft Machine,
Amon Düül II,
Funkadelic,
Rosa Yemen,
Barclay James Harvest,
The Trojans,
Mo-Dettes,
Dawn Penn,
Robert Görl,
Charles Mingus,
The Neon Judgement,
Tommy Roe,
T. Rex,
Grey Daturas,
Lizzy Mercier Descloux,
Faust,
The Slackers,
The Victims,
10cc,
The Detroit Cobras,
Eve St. Jones,
Sunsets and Hearts,
Nik Kershaw,
Cabaret Voltaire,
The Fire Engines,
Liaisons Dangereuses,
EPMD,
Camouflage,
The Seeds,
UT,
Pylon,
Girls At Our Best!,
Gil Scott Heron,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.