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 Tajikistan and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Searchers to the jazz kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Liliput,
World's Most,
Motorama,
A Flock of Seagulls,
Lonnie Liston Smith,
Kool Moe Dee,
Jacob Miller,
Man Parrish,
Crooked Eye,
The Monks,
Kings Of Tomorrow,
Ossler,
Crash Course in Science,
Ituana,
Boogie Down Productions,
The Moleskins,
Parry Music,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Young Marble Giants,
The Smiths,
Jimmy McGriff,
Ronan,
Barclay James Harvest,
Aswad,
the Soft Cell,
The West Coast Pop Art Experimental Band,
Spoonie Gee,
Gil Scott Heron,
Bang on a Can All-Stars,
Chris Corsano,
Erykah Badu,
Jacques Brel,
cv313,
Loose Ends,
Röyhkä ja Rättö ja Lehtisalo,
The Electric Prunes,
Ornette Coleman,
The Misunderstood,
Soft Cell,
Leonard Cohen,
Ash Ra Tempel,
Cluster,
Piero Umiliani,
K-Klass,
Kerrie Biddell,
Basic Channel,
Ice-T,
Lucky Dragons,
Andrew Ashong & Theo Parrish,
Nils Olav,
Lizzy Mercier Descloux,
Beasts of Bourbon,
The Motions,
Electric Light Orchestra,
Cybotron,
Trumans Water,
The Kinks,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.