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 Ecuador and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Portland 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Intrusion to the dance 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 Sexual Harrassment. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Make Up,
Erykah Badu,
Richard Hell and the Voidoids,
Deadbeat,
World's Most,
Piero Umiliani,
Blancmange,
Minor Threat,
Lalann,
Ultimate Spinach,
Babytalk,
The Moleskins,
James Chance & The Contortions,
John Holt,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chris & Cosey,
Banda Bassotti,
John Foxx,
Whodini,
Hashim,
The Fortunes,
The Black Dice,
The Knickerbockers,
Stereo Dub,
China Crisis,
Terrestrial Tones,
Bill Wells,
Reuben Wilson,
Alison Limerick,
Deepchord,
Sixth Finger,
Rakim,
Glambeats Corp.,
Interpol,
Cecil Taylor,
Guru Guru,
Dead Boys,
Ludus,
Slave,
Junior Murvin,
KRS-One,
The Index,
U.S. Maple,
Funky Four + One,
John Lydon,
Lower 48,
The Smiths,
The Electric Prunes,
JFA,
Minutemen,
DJ Style,
The Smoke,
David McCallum,
Ultramagnetic MC's,
Girls At Our Best!,
MDC,
Delon & Dalcan,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.