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 Djibouti and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Glasgow 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 organ 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 Public Image Ltd. to the rock 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 Avey Tare. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Matthew Halsall,
Fluxion,
Brothers Johnson,
Au Pairs,
Hot Snakes,
Animal Collective,
Sun Ra Arkestra,
David Bowie,
Neil Young,
Piero Umiliani,
Parry Music,
The Slackers,
ABBA,
Goldenarms,
Ohio Players,
Andrew Hill,
The Offenders,
Gary Puckett & The Union Gap,
The Divine Comedy,
The Sisters of Mercy,
The Invisible,
Grandmaster Flash and the Furious Five,
Skaos,
Connie Case,
Model 500,
Janne Schatter,
Neu!,
The Slits,
Carl Craig,
Lalo Schifrin,
Fifty Foot Hose,
Sam Rivers,
The Gladiators,
Magma,
the Association,
Pulsallama,
OOIOO,
R.M.O.,
Unwound,
Yusef Lateef,
David Axelrod,
Scion,
Half Japanese,
The Leaves,
Graham Central Station,
Archie Shepp,
Yaz,
Pere Ubu,
Dorothy Ashby,
Nick Fraelich,
JFA,
Can,
KRS-One,
Tubeway Army,
Peter and Kerry,
Derrick Morgan,
Fela Kuti,
Peter & Gordon,
Spandau Ballet,
Tim Buckley,
Bootsy Collins,
Monks, Monks, Monks, Monks.
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.