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 Dominican Republic and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 Dorothy Ashby to the disco kids.
I played it at Trash.
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 Barbara Tucker. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Gang Gang Dance,
CMW,
Flipper,
Kool Moe Dee,
Rahsaan Roland Kirk,
The Tremeloes,
Grey Daturas,
Fela Kuti,
Kenny Larkin,
Kango’s Stein Massive,
Yaz,
Graham Central Station,
Neil Young,
Arcadia,
Moby Grape,
The Mummies,
Alice Coltrane,
New York Dolls,
Brass Construction,
Tubeway Army,
The Associates,
Brick,
Eurythmics,
Fatback Band,
DJ Style,
Rites of Spring,
John Foxx,
Public Image Ltd.,
Lakeside,
Heavy D & The Boyz,
Zero Boys,
B.T. Express,
Gastr Del Sol,
Q65,
Sonny Sharrock,
Popol Vuh,
Don Cherry,
Lonnie Liston Smith,
Lafayette Afro Rock Band,
X-Ray Spex,
David Axelrod,
Maurizio,
Los Fastidios,
Interpol,
The Dirtbombs,
The Star Department,
Tim Buckley,
Yazoo,
Kas Product,
F. McDonald,
Malaria!,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Techniques,
Electric Light Orchestra,
the Soft Cell,
Danielle Patucci,
Hoover,
Ultra Naté,
X-101, X-101, X-101, X-101.
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.