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 France and from Salvador.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school Cairo 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 Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Peter Gordon & Love of Life Orchestra to the punk 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 Fear. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Cameo 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Beasts of Bourbon,
Gastr Del Sol,
Moby Grape,
Ituana,
Jeru the Damaja,
Intrusion,
The Chocolate Watch Band,
Los Fastidios,
Audionom,
Guru Guru,
The Last Poets,
Erykah Badu,
Electric Prunes,
The Vogues,
Lou Christie,
Jeff Mills,
Roger Hodgson,
the Normal,
the Soft Cell,
The Red Krayola,
Angry Samoans,
Marshall Jefferson,
Technova,
The Dirtbombs,
Porter Ricks,
Jesper Dahlback,
The Shadows of Knight,
The Star Department,
This Heat,
James Chance & The Contortions,
DJ Sneak,
Oppenheimer Analysis,
Yusef Lateef,
Gang Starr,
Lucky Dragons,
Infiniti,
The Neon Judgement,
Agitation Free,
Connie Case,
Peter & Gordon,
The Durutti Column,
Cluster,
Sight & Sound,
De La Soul & Jungle Brothers,
Parry Music,
Charles Mingus,
The Moleskins,
Traffic Nightmare,
Wings,
Super Lover Cee & Casanova Rud,
Buzzcocks,
Roy Ayers,
Soulsonic Force,
The Cosmic Jokers,
The Martian,
Alison Limerick,
Mandrill,
Pantaleimon,
Lakeside,
Gerry Rafferty,
Mary Jane Girls,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.