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 Moldova and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Columbus 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Blake Baxter to the rock kids.
I played it at the Crocodile.
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 X-101. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba 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 West Coast Pop Art Experimental Band,
Reagan Youth,
the Fania All-Stars,
Soft Cell,
Adolescents,
Pylon,
Jeff Mills,
AZ,
Sad Lovers and Giants,
Notorious BIG live in Amsterdam,
Soul Sonic Force,
Pharoah Sanders,
Brand Nubian,
Henry Cow,
Black Bananas,
Bronski Beat,
Lou Christie,
Cluster,
Davy DMX,
The Doobie Brothers,
The Mummies,
The New Christs,
Swans,
Mark Hollis,
Whodini,
Country Teasers,
The Martian,
FM Einheit,
The Raincoats,
Buzzcocks,
Ice-T,
Minor Threat,
Gregory Isaacs,
The Index,
Notorious Big And Bone Thugs,
Rod Modell,
Althea and Donna,
A Certain Ratio,
Harry Pussy,
Deepchord,
JFA,
Aural Exciters,
Minutemen,
The Black Dice,
James White and The Blacks,
Justin Hinds & The Dominoes,
The Monochrome Set,
ABBA,
The Victims,
Joe Smooth,
Grey Daturas,
Cecil Taylor,
Arthur Verocai,
Brick,
Oblivians,
Barclay James Harvest,
Be Bop Deluxe,
Ludus,
Maurizio,
Siglo XX,
Kerrie Biddell,
The Stooges,
World's Most,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.