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 Gambia and from Woodstock.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Scratch Acid to the jazz 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 Alphaville. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Joey Negro 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Cameo,
Lee Hazlewood,
10cc,
De La Soul & Jungle Brothers,
Glenn Branca,
Audionom,
Glambeats Corp.,
Easy Going,
Average White Band,
Robert Görl,
Ultra Naté,
It's A Beautiful Day,
Funkadelic,
The Electric Prunes,
Throbbing Gristle,
The Fuzztones,
the Normal,
Tom Boy,
Sad Lovers and Giants,
Bootsy Collins,
Lafayette Afro Rock Band,
Junior Murvin,
The Slackers,
Lizzy Mercier Descloux,
B.T. Express,
Pierre Henry,
The Doors,
Ultimate Spinach,
Ronnie Foster,
Orchestral Manoeuvres in the Dark,
Gang Gang Dance,
Urselle,
Talk Talk,
Nico,
Grauzone,
DeepChord presents Echospace,
Eric Copeland,
the Bar-Kays,
Dorothy Ashby,
The Toasters,
The Selecter,
The Trojans,
Marcia Griffiths,
Stereo Dub,
Skriet,
Bang On A Can,
Roger Hodgson,
The Dave Clark Five,
The Move,
Ajijia Myrayebe,
Johnny Clarke,
the Fania All-Stars,
Sister Nancy,
The Durutti Column,
The Mummies,
Aural Exciters,
Malaria!,
Sight & Sound,
Robert Wyatt,
The Monks, The Monks, The Monks, The Monks.
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.