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 Madagascar and from Taipei.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Sixth Finger to the crunk kids.
I played it at CBGB's.
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 Livin' Joy. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Andrew Ashong & Theo Parrish,
Ornette Coleman,
Newcleus,
Sugar Minott,
The Slits,
Soul Sonic Force,
The Fuzztones,
Blossom Toes,
Pylon,
Robert Görl,
Brand Nubian,
Chris & Cosey,
Youth Brigade,
The Skatalites,
Crispian St. Peters,
Letta Mbulu,
Bobbi Humphrey,
Royal Trux,
Ohio Players,
Von Mondo,
Pete Rock & C.L. Smooth,
The Last Poets,
D'Angelo,
Orchestral Manoeuvres in the Dark,
Bobby Womack,
The Dave Clark Five,
Isaac Hayes,
Moby Grape,
Hoover,
Minor Threat,
Jeff Mills,
the Normal,
Radiopuhelimet,
The Fortunes,
Joe Finger,
Stiv Bators,
Hardrive,
F. McDonald,
Heavy D & The Boyz,
Don Cherry,
Tomorrow,
The Neon Judgement,
The Standells,
Camouflage,
Bad Manners,
Minnie Riperton,
48th St. Collective,
The Gap Band,
Michelle Simonal,
Colin Newman,
Das Ding,
Lou Reed & John Cale,
The Dead C,
The Young Rascals,
Unwound,
Jawbox,
Brothers Johnson,
Kool G Rap & DJ Polo,
Magma,
The American Breed, The American Breed, The American Breed, The American Breed.
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.