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 Ukraine and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school Lagos 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 sitar 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 Kaleidoscope to the grime kids.
I played it at the Troubador.
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 U.S. Maple. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Eli Mardock 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 '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Kenny Larkin,
The Fire Engines,
Barclay James Harvest,
Bang on a Can All-Stars,
Bad Manners,
F. McDonald,
James Chance & The Contortions,
Gil Scott-Heron and Jamie xx,
Gastr Del Sol,
Rosa Yemen,
The Gun Club,
Tomorrow,
Al Stewart,
Rekid,
The American Breed,
Graham Central Station,
Half Japanese,
Procol Harum,
Zapp,
The Alarm Clocks,
The Victims,
Drive Like Jehu,
The Evens,
Connie Case,
Chrome,
Electric Light Orchestra,
Bang On A Can,
Pierre Henry,
Albert Ayler,
Gregory Isaacs,
Nas,
Harpers Bizarre,
Los Fastidios,
Japan,
Average White Band,
The Smiths,
Scott Walker,
Lizzy Mercier Descloux,
Kango’s Stein Massive,
Notorious Big And Bone Thugs,
Loose Ends,
Lou Reed,
a-ha,
K-Klass,
kango's stein massive,
The Shadows of Knight,
MC5,
Monolake,
Cluster,
Con Funk Shun,
The Divine Comedy,
The Flesh Eaters,
La Düsseldorf,
Niagra,
Sad Lovers and Giants,
Laurel Aitken,
Tears for Fears,
Skaos,
Eric Dolphy,
cv313,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.