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 Israel and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when David Bowie 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 Simply Red to the grime kids.
I played it at the Spitz.
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 Wolf Eyes. All the underground hits.
All ABC tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Todd Rundgren,
Beasts of Bourbon,
Fela Kuti,
Justin Hinds & The Dominoes,
Severed Heads,
The Alarm Clocks,
Barry Ungar,
Boogie Down Productions,
Moss Icon,
ABBA,
Rhythim Is Rhythim,
The Fortunes,
Marshall Jefferson,
Boredoms,
Bluetip,
Arthur Verocai,
Rhythm & Sound,
Mo-Dettes,
Jesper Dahlbäck,
Spandau Ballet,
David McCallum,
Inner City,
Susan Cadogan,
Lindisfarne,
Dual Sessions,
Davy DMX,
Nik Kershaw,
Robert Hood,
Minny Pops,
Nation of Ulysses,
Jeff Mills,
Kango’s Stein Massive,
Aural Exciters,
Joensuu 1685,
Albert Ayler,
Brass Construction,
Quantec,
The New Christs,
Bronski Beat,
The Velvet Underground,
Vainqueur,
Harry Pussy,
Bobby Sherman,
The Skatalites,
Röyhkä ja Rättö ja Lehtisalo,
Slave,
Peter and Kerry,
Section 25,
Wighnomy Brothers & Robag Wruhme,
Rapeman,
Aloha Tigers,
The Monochrome Set,
Warren Ellis,
Jandek,
Gil Scott Heron,
Letta Mbulu,
Laurel Aitken,
Bobby Hutcherson,
Pharoah Sanders,
Yazoo,
Deadbeat,
Yellowson, Yellowson, Yellowson, Yellowson.
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.