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 Kyrgyzstan and from Milan.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Matthew Bourne to the funk kids.
I played it at the Roxy.
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 CMW. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Reuben Wilson,
The Tremeloes,
Nico,
Gang Green,
The Fall,
The Barracudas,
Sun City Girls,
the Germs,
The Invisible,
The Dave Clark Five,
Sly & The Family Stone,
B.T. Express,
Boz Scaggs,
Fear,
Urselle,
Gregory Isaacs,
H. Thieme,
Anakelly,
Junior Murvin,
Brick,
Kayak,
U.S. Maple,
Pet Shop Boys,
The Cowsills,
Agitation Free,
Blake Baxter,
Circle Jerks,
The Toasters,
Roxette,
Sex Pistols,
The Star Department,
Underground Resistance,
Albert Ayler,
Donald Byrd,
Piero Umiliani,
The Durutti Column,
Radiopuhelimet,
Isaac Hayes,
Thee Headcoats,
Pulsallama,
Gary Puckett & The Union Gap,
Banda Bassotti,
Alice Coltrane,
Barclay James Harvest,
Jesper Dahlbäck,
The Selecter,
Chrome,
Brothers Johnson,
The Mojo Men,
Zapp,
Soft Cell,
E-Dancer,
Young Marble Giants,
Super Lover Cee & Casanova Rud,
KRS-One,
The Slackers,
The Happenings,
Don Cherry,
Eyeless In Gaza,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.