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 Senegal and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Stockholm and Spokane.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when David Bowie 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 A Certain Ratio to the electroclash kids.
I played it at Trash.
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 The Count Five. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s cut and another box set from the '90s.
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 Bob Dylan record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Moody Blues,
The Martian,
Eden Ahbez,
the Human League,
Ultramagnetic MC's,
Bang on a Can All-Stars,
Tropical Tobacco,
Supertramp,
The Barracudas,
Lou Christie,
Bob Dylan,
New Order,
Faraquet,
Spandau Ballet,
Dorothy Ashby,
Moebius,
The Electric Prunes,
Boz Scaggs,
The Invisible,
Hardrive,
Pantaleimon,
Roy Ayers,
Brass Construction,
Todd Rundgren,
Sound Behaviour,
Masters at Work,
Young Marble Giants,
Liliput,
Robert Görl,
Hot Snakes,
Ohio Players,
Bobby Hutcherson,
The Modern Lovers,
Tears for Fears,
Flamin' Groovies,
Heavy D & The Boyz,
Ornette Coleman,
Schoolly D,
Isaac Hayes,
Tubeway Army,
Pagans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Essential Logic,
Rosa Yemen,
John Lydon,
Fatback Band,
Zero Boys,
The Blackbyrds,
Mary Jane Girls,
Fela Kuti,
Patti Smith,
E-Dancer,
Lebanon Hanover,
Soft Machine,
Lindisfarne,
The Selecter,
Crispy Ambulance,
Minor Threat,
The Gladiators,
The Gun Club,
Half Japanese,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.