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 the UAE and from Lagos.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school New York 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Siouxsie and the Banshees to the electroclash 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 Vladislav Delay. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Radio Birdman,
Lakeside,
Mr. Review,
Pulsallama,
Terry Callier,
Marcia Griffiths,
Fifty Foot Hose,
H. Thieme,
Silicon Teens,
Rahsaan Roland Kirk,
Deadbeat,
The Gun Club,
Symarip,
Icehouse,
Kerrie Biddell,
Lee Hazlewood,
Severed Heads,
Wally Richardson,
Kayak,
The Leaves,
Anakelly,
Wolf Eyes,
Essential Logic,
Rapeman,
The Gories,
Marc Romboy vs. Booka Shade,
cv313,
Orchestral Manoeuvres in the Dark,
Brothers Johnson,
Au Pairs,
Carl Craig,
Negative Approach,
Nation of Ulysses,
Major Organ And The Adding Machine,
Soft Cell,
The Birthday Party,
the Swans,
Dual Sessions,
Deakin,
Neu!,
Theoretical Girls,
Black Flag,
Black Bananas,
The Kinks,
Bad Manners,
John Lydon,
Gabor Szabo,
The Angels of Light,
Pussy Galore,
The Slackers,
These Immortal Souls,
Gregory Isaacs,
Los Fastidios,
The Victims,
Notorious Big And Bone Thugs,
Graham Central Station,
The Doors,
The Remains,
Lalo Schifrin,
Drexciya,
Super Lover Cee & Casanova Rud,
Sandy B,
Pantytec,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.