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 Jamaica and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Stockholm 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Half Japanese to the jazz kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Bootsy Collins 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Warren Ellis,
Roy Ayers Ubiquity,
Letta Mbulu,
The Leaves,
Robert Wyatt,
Laurel Aitken,
Johnny Clarke,
Stiv Bators,
London Community Gospel Choir,
Throbbing Gristle,
The Peanut Butter Conspiracy,
Bobby Hutcherson,
Davy DMX,
New York Dolls,
Dual Sessions,
Brass Construction,
The Cure,
Bad Manners,
Sonny Sharrock,
Niagra,
The Divine Comedy,
Al Stewart,
Deakin,
La Düsseldorf,
Bauhaus,
Electric Prunes,
X-102,
Dead Boys,
Gastr Del Sol,
Super Lover Cee & Casanova Rud,
Liliput,
Radiopuhelimet,
Bootsy Collins,
Kas Product,
the Slits,
Echo & the Bunnymen,
Unrelated Segments,
Average White Band,
The Five Americans,
Peter and Kerry,
Röyhkä ja Rättö ja Lehtisalo,
the Fania All-Stars,
The Walker Brothers,
Big Daddy Kane,
Thee Headcoats,
Blossom Toes,
Model 500,
Brand Nubian,
Stereo Dub,
Bush Tetras,
The Names,
Kayak,
Iggy Pop,
The Zeros,
Minor Threat,
Dave Gahan,
Roxy Music,
The Selecter,
John Foxx,
Wolf Eyes,
Wings, Wings, Wings, Wings.
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.