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 Indonesia 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 1975.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar 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 Kenny Larkin to the disco kids.
I played it at the Hacienda.
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 Mars. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Alison Limerick 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
The Names,
L. Decosne,
Bill Near,
Das Ding,
Yusef Lateef,
The Motions,
Wighnomy Brothers & Robag Wruhme,
Monolake,
Godley & Creme,
Derrick Morgan,
Bobby Womack,
Man Eating Sloth,
Marvin Gaye,
Super Lover Cee & Casanova Rud,
Brass Construction,
The Saints,
Juan Atkins,
Gastr Del Sol,
Colin Newman,
Bang On A Can,
Pantaleimon,
Stiv Bators,
The Index,
A Certain Ratio,
Black Pus,
Brand Nubian,
Radiohead,
Dual Sessions,
The Standells,
Depeche Mode,
Scratch Acid,
Pharoah Sanders,
Gil Scott Heron,
Steve Hackett,
Girls At Our Best!,
Maurizio,
The Techniques,
Lakeside,
Suburban Knight,
Gil Scott-Heron & Brian Jackson,
Barbara Tucker,
Robert Görl,
Kayak,
The Red Krayola,
Swans,
The West Coast Pop Art Experimental Band,
Major Organ And The Adding Machine,
The Real Kids,
Captain Beefheart & His Magic Band,
Fugazi,
Art Ensemble Of Chicago,
Sun Ra,
The Flesh Eaters,
Johnny Osbourne,
Gang Starr,
Sex Pistols,
Electric Prunes,
Inner City,
Avey Tare & Kría Brekkan,
New York Dolls,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.