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 Morocco and from Woodstock.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 ABBA to the grime 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 David Bowie. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
DJ Style,
The Smiths,
Fort Wilson Riot,
Girls At Our Best!,
Sound Behaviour,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
Duran Duran,
Deutsch Amerikanische Freundschaft,
Kerri Chandler,
Echospace,
Scott Walker + Sunn O))),
Agent Orange,
Maurizio,
Bobbi Humphrey,
Robert Hood,
In Retrospect,
Rites of Spring,
The Standells,
cv313,
Skarface,
Prince Buster,
X-Ray Spex,
Rahsaan Roland Kirk,
Rod Modell,
Deadbeat,
Althea and Donna,
Sun Ra,
Johnny Osbourne,
Simply Red,
Lou Reed & Metallica,
Kerrie Biddell,
Blancmange,
The Offenders,
Sight & Sound,
Ultra Naté,
PIL,
H. Thieme,
Surgeon,
Terror Squad Feat. Camron,
Cabaret Voltaire,
Funky Four + One,
EPMD,
Flash Fearless,
London Community Gospel Choir,
World's Most,
Bobby Hutcherson,
Tres Demented,
Brick,
The Associates,
Neu!,
Darondo,
48th St. Collective,
Ken Boothe,
Dead Boys,
Nik Kershaw,
The Detroit Cobras,
Pole,
Scrapy, Scrapy, Scrapy, Scrapy.
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.