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 Jordan and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Shanghai 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 clarinet 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 The Cowsills to the rap 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 Toni Rubio. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Delta 5 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 '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Steve Hackett,
Ultravox,
Derrick Morgan,
The Durutti Column,
Mark Hollis,
Kayak,
Deutsch Amerikanische Freundschaft,
Sex Pistols,
New Order,
Crash Course in Science,
Fifty Foot Hose,
Rufus Thomas,
ABBA,
Ossler,
World's Most,
Tears for Fears,
June Days,
The Blues Magoos,
Charles Mingus,
Deakin,
Panda Bear,
Accadde A,
Pantytec,
Terrestrial Tones,
The Sisters of Mercy,
Grey Daturas,
Faraquet,
Vladislav Delay,
Johnny Osbourne,
Fad Gadget,
The Fortunes,
Unrelated Segments,
Richard Hell and the Voidoids,
The Vogues,
Magazine,
The Pop Group,
Suicide,
Joy Division,
Blancmange,
James White and The Blacks,
Jesper Dahlback,
Radiopuhelimet,
Max Romeo,
The Mummies,
Prince Buster,
Babytalk,
Bobby Byrd,
Soul Sonic Force,
Sly & The Family Stone,
Moby Grape,
Bill Wells,
Nation of Ulysses,
Oblivians,
Mr. Review,
Ralphi Rosario,
ABC,
The Slackers,
Chris Corsano,
Black Bananas,
Juan Atkins,
Stetsasonic,
Saccharine Trust,
Scratch Acid,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.