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 Bahrain and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Lille 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 theremin 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 Piero Umiliani to the funk kids.
I played it at the Astoria.
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 June of 44. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Terry Callier,
Deepchord,
Crispian St. Peters,
Sun City Girls,
Half Japanese,
Justin Hinds & The Dominoes,
Anakelly,
The Mighty Diamonds,
Joe Smooth,
The Seeds,
The Skatalites,
Yaz,
Alton Ellis,
Al Stewart,
D'Angelo,
Banda Bassotti,
Marc Romboy vs. Booka Shade,
Newcleus,
Iggy Pop,
John Foxx,
Ajijia Myrayebe,
Patti Smith,
Fela Kuti,
The Beau Brummels,
Pussy Galore,
Thompson Twins,
Peter Gordon & Love of Life Orchestra,
The Real Kids,
It's A Beautiful Day,
Marine Girls,
Derrick Morgan,
The Victims,
Dr. Dre and Snoop Doggy Dog,
Jacques Brel,
The Chocolate Watch Band,
Public Enemy,
Funky Four + One,
MC5,
A Certain Ratio,
X-101,
Heaven 17,
Marc Almond,
Mark Hollis,
Charles Mingus,
Larry & the Blue Notes,
Cameo,
The Sonics,
The Litter,
Guru Guru,
Minor Threat,
Nirvana,
Ornette Coleman,
Amon Düül II,
Eli Mardock,
Scan 7,
Fugazi,
Whodini,
Animal Collective,
Johnny Osbourne,
Althea and Donna,
The Gap Band,
The Dead C, The Dead C, The Dead C, The Dead C.
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.