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 United States and from Manchester.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Edmonton 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 Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Rotary Connection to the punk kids.
I played it at CBGB's.
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 Byron Stingily. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Unwound,
Interpol,
Massinfluence,
Frankie Knuckles,
Kas Product,
Mr. Review,
The Moleskins,
Angels of Light & Akron/Family,
New Age Steppers,
The Move,
Alton Ellis,
Anakelly,
John Foxx,
Dark Day,
The Neon Judgement,
The Motions,
Nick Cave & The Bad Seeds,
Grandmaster Flash,
Traffic Nightmare,
Delta 5,
Main Source,
Ajijia Myrayebe,
The Cosmic Jokers,
Bang on a Can All-Stars,
Steve Hackett,
Inner City,
Junior Murvin,
Thinking Fellers Union Local 282,
Stereo Dub,
U.S. Maple,
Rowland S Howard / Lydia Lunch,
Derrick Morgan,
Peter & Gordon,
The Barracudas,
Leonard Cohen,
Pulsallama,
Oppenheimer Analysis,
Public Enemy,
The Black Dice,
Anthony Braxton,
Eli Mardock,
The Music Machine,
Rekid,
Mandrill,
Pagans,
Niagra,
Rites of Spring,
Minor Threat,
Roger Hodgson,
Howard Jones,
Idris Muhammad,
Marcia Griffiths,
Bootsy Collins,
The Alarm Clocks,
Kenny Larkin,
Aswad,
The Gap Band,
Circle Jerks,
Matthew Halsall,
DeepChord presents Echospace,
The Mummies,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.