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 Guinea and from Manila.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manila and Shanghai.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Fortunes to the grime kids.
I played it at the Troubador.
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 Shoche. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Lyres,
Funkadelic,
Lizzy Mercier Descloux,
The Human League,
Sunsets and Hearts,
Avey Tare's Slasher Flicks,
Echo & the Bunnymen,
The United States of America,
CMW,
Slick Rick,
Patti Smith,
Second Layer,
Flamin' Groovies,
Lindisfarne,
Black Bananas,
Carl Craig,
Bootsy's Rubber Band,
Cymande,
Tropical Tobacco,
Liliput,
Audionom,
Man Parrish,
Pulsallama,
Joensuu 1685,
Cybotron,
Art Ensemble Of Chicago,
Eric Dolphy,
Sexual Harrassment,
Jeff Lynne,
Spoonie Gee,
Saccharine Trust,
Tomorrow,
The Detroit Cobras,
Scan 7,
Harry Pussy,
Vaughan Mason & Crew,
James White and The Blacks,
Grandmaster Flash and the Furious Five,
The Angels of Light,
Guru Guru,
The Birthday Party,
Siouxsie and the Banshees,
Simply Red,
Groovy Waters,
Chris & Cosey,
Absolute Body Control,
Godley & Creme,
Robert Görl,
Pylon,
Funky Four + One,
The Busters,
Aswad,
Ornette Coleman,
The Monks,
Minutemen,
Theoretical Girls,
Stockholm Monsters,
Rod Modell,
Terrestrial Tones,
The Seeds,
Alison Limerick,
Mo-Dettes,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.