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 Belarus and from Cairo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Manila.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Ken Boothe to the jazz kids.
I played it at the Roxy.
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 Justin Hinds & The Dominoes. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Gabor Szabo 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The Detroit Cobras,
Hardrive,
Traffic Nightmare,
The Blackbyrds,
The New Christs,
The Doors,
Eyeless In Gaza,
Royal Trux,
It's A Beautiful Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gories,
Silicon Teens,
Oneida,
June of 44,
Wighnomy Brothers & Robag Wruhme,
Main Source,
The Smiths,
Masters at Work,
Yellowson,
The Walker Brothers,
Audionom,
Unwound,
The Leaves,
Darondo,
kango's stein massive,
Wasted Youth,
the Soft Cell,
Y Pants,
London Community Gospel Choir,
Von Mondo,
Derrick May,
Rosa Yemen,
Eric B and Rakim,
Visage,
The Motions,
Public Image Ltd.,
Stereo Dub,
Tubeway Army,
Rowland S Howard / Lydia Lunch,
Althea and Donna,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
Massinfluence,
Gang Green,
Con Funk Shun,
Cabaret Voltaire,
Malaria!,
Crooked Eye,
Infiniti,
Cymande,
Anakelly,
New Age Steppers,
Fad Gadget,
Manfred Mann's Earth Band,
The Sound,
Japan,
Suburban Knight,
Hot Snakes,
Suicide,
The Trojans,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.