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 Congo and from Bremen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Bremen 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 snare 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the electroclash kids.
I played it at Trash.
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 The Selecter. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Delta 5,
Liaisons Dangereuses,
Selector Dub Narcotic,
Motorama,
X-Ray Spex,
LL Cool J,
Bobbi Humphrey,
Swans,
Jacob Miller,
The Techniques,
Fort Wilson Riot,
R.M.O.,
Justin Hinds & The Dominoes,
Black Bananas,
Alison Limerick,
The Mojo Men,
Soulsonic Force,
The Young Rascals,
Jeru the Damaja,
London Community Gospel Choir,
Wings,
Nation of Ulysses,
The Mighty Diamonds,
The Residents,
Liliput,
Wire,
Carl Craig,
The United States of America,
Y Pants,
Jesper Dahlback,
the Germs,
Eurythmics,
Talk Talk,
Electric Prunes,
Rosa Yemen,
Niagra,
D'Angelo,
Con Funk Shun,
Kerri Chandler,
Rapeman,
The Detroit Cobras,
EPMD,
Bush Tetras,
Visage,
Suburban Knight,
The Associates,
Wally Richardson,
The Gladiators,
Angels of Light & Akron/Family,
Colin Newman,
Zapp,
Lyres,
8 Eyed Spy,
Slave,
Pete Rock & C.L. Smooth,
Brothers Johnson,
Rowland S Howard / Lydia Lunch,
The Chocolate Watch Band,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.