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 Georgia and from Lagos.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Halifax.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Blossom Toes to the jazz kids.
I played it at the 40 Watt.
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 Das Ding. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every The Tremeloes 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Flipper,
Public Enemy,
Nirvana,
Bronski Beat,
Sixth Finger,
Soft Machine,
Beasts of Bourbon,
Essential Logic,
Pantaleimon,
Byron Stingily,
Richard Hell and the Voidoids,
Vladislav Delay,
Smog,
Deutsch Amerikanische Freundschaft,
Circle Jerks,
Saccharine Trust,
Quadrant,
Manfred Mann's Earth Band,
The Blues Magoos,
Parry Music,
Blossom Toes,
Grandmaster Flash,
Man Eating Sloth,
Au Pairs,
Godley & Creme,
Monolake,
Ituana,
Jeff Mills,
Public Image Ltd.,
The Chocolate Watch Band,
Mars,
One Last Wish,
The Cure,
Sparks,
Jeff Lynne,
Black Pus,
Althea and Donna,
The Knickerbockers,
Eli Mardock,
World's Most,
X-101,
the Soft Cell,
Bang On A Can,
London Community Gospel Choir,
Gang Starr,
Ossler,
Negative Approach,
The Residents,
The Gories,
The Angels of Light,
Echo & the Bunnymen,
Albert Ayler,
The Durutti Column,
New York Dolls,
Glenn Branca,
The Last Poets,
Harry Pussy,
Flash Fearless,
Barclay James Harvest,
Main Source,
Brothers Johnson,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.