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 Mongolia and from Manchester.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bremen and Manila.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Camron Feat. Jay Z And Juelz to the techno 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 Basic Channel. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every The Last Poets 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
The Names,
Depeche Mode,
Scion,
Lakeside,
Hashim,
Barrington Levy,
Heavy D & The Boyz,
Throbbing Gristle,
Saccharine Trust,
The Black Dice,
Wings,
This Heat,
Flamin' Groovies,
De La Soul & Jungle Brothers,
Quadrant,
The Mummies,
The Dave Clark Five,
Mo-Dettes,
Sly & The Family Stone,
Skaos,
Audionom,
T. Rex,
Das Ding,
Marvin Gaye,
June Days,
B.T. Express,
The Star Department,
Eyeless In Gaza,
Excepter,
Pussy Galore,
Brass Construction,
Absolute Body Control,
ABBA,
Scratch Acid,
Suburban Knight,
Ultravox,
Barry Ungar,
Fad Gadget,
Television Personalities,
Fort Wilson Riot,
Ultramagnetic MC's,
MC5,
Cheater Slicks,
Traffic Nightmare,
Hot Snakes,
Tears for Fears,
Panda Bear,
Pagans,
The Angels of Light,
Oneida,
Deepchord,
Vainqueur,
The Move,
The Five Americans,
Pete Rock & C.L. Smooth,
Electric Prunes,
Sällskapet,
Half Japanese,
Bobby Sherman,
Judy Mowatt,
Reuben Wilson,
The Fall,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.