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 Chile and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 guitar 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 Warren Ellis to the grunge 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 Eli Mardock. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every The United States of America 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 '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Walker Brothers,
New Age Steppers,
Robert Görl,
Matthew Bourne,
Pylon,
Japan,
Michelle Simonal,
Country Teasers,
Lonnie Liston Smith,
Anakelly,
Main Source,
X-Ray Spex,
Shoche,
Freddie Wadling,
CMW,
The Black Dice,
Rufus Thomas,
Teenage Jesus and the Jerks,
Flash Fearless,
Jacques Brel,
The Divine Comedy,
Subhumans,
Isaac Hayes,
Moss Icon,
Con Funk Shun,
Nas,
The New Christs,
Reagan Youth,
Soul Sonic Force,
Josef K,
One Last Wish,
Minnie Riperton,
Kings Of Tomorrow,
U.S. Maple,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
Panda Bear,
The Offenders,
Leonard Cohen,
Magma,
The Knickerbockers,
The Cosmic Jokers,
Harpers Bizarre,
the Sonics,
Little Man,
DJ Sneak,
Tears for Fears,
The Jesus and Mary Chain,
Gerry Rafferty,
the Soft Cell,
Donald Byrd,
Sparks,
Jesper Dahlback,
Kango’s Stein Massive,
Marine Girls,
Minny Pops,
Excepter, Excepter, Excepter, Excepter.
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.