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 Grenada and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Spokane 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 Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Harry Pussy to the techno kids.
I played it at the Roxy.
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 Second Layer. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Hashim record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Lou Reed & Metallica,
Deadbeat,
Tubeway Army,
Urselle,
Interpol,
Pussy Galore,
Art Ensemble Of Chicago,
Faust,
Amon Düül,
Roy Ayers Ubiquity,
Basic Channel,
Pagans,
EPMD,
Grandmaster Flash,
Average White Band,
Brick,
Reuben Wilson,
The Dirtbombs,
New Age Steppers,
Ultra Naté,
Sam Rivers,
Con Funk Shun,
The Moody Blues,
The New Christs,
Qualms,
Howard Jones,
John Holt,
Mo-Dettes,
Dr. Dre and Snoop Doggy Dog,
CMW,
The Monochrome Set,
Masters at Work,
Pole,
Albert Ayler,
Dave Gahan,
Heaven 17,
Piero Umiliani,
London Community Gospel Choir,
Ossler,
The Smiths,
48th St. Collective,
Drive Like Jehu,
The Modern Lovers,
Barrington Levy,
Vaughan Mason & Crew,
Neu!,
Fluxion,
Avey Tare's Slasher Flicks,
Matthew Bourne,
The Tremeloes,
Rosa Yemen,
The Mummies,
John Cale,
Eli Mardock,
Black Moon,
Swell Maps,
Section 25,
Intrusion,
Accadde A,
Newcleus,
Roy Ayers,
The Fire Engines,
John Foxx, John Foxx, John Foxx, John Foxx.
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.