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 Kuwait and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Lou Reed 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 The Golliwogs to the rap kids.
I played it at the Troubador.
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 Outsiders. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
the Swans,
Jesper Dahlbäck,
Matthew Halsall,
Sparks,
Bob Dylan,
Metal Thangz,
Silicon Teens,
Howard Jones,
The Index,
Blake Baxter,
Hasil Adkins,
The Red Krayola,
Suburban Knight,
The J.B.'s,
Althea and Donna,
The Pretty Things,
Graham Central Station,
Gil Scott-Heron and Jamie xx,
Section 25,
The Black Dice,
Bronski Beat,
Sister Nancy,
Kenny Larkin,
Wire,
Kerrie Biddell,
Black Sheep,
The Fortunes,
B.T. Express,
Nick Fraelich,
Fela Kuti,
Sunsets and Hearts,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Angels of Light & Akron/Family,
Sam Rivers,
Bauhaus,
John Holt,
Piero Umiliani,
Bad Manners,
Sexual Harrassment,
Adolescents,
Godley & Creme,
The Trojans,
Roxette,
Lalo Schifrin,
Janne Schatter,
Man Eating Sloth,
Sixth Finger,
MDC,
Kayak,
Procol Harum,
Lindisfarne,
Quantec,
a-ha,
The Alarm Clocks,
Cecil Taylor,
Nation of Ulysses,
Skriet,
Barrington Levy,
Sad Lovers and Giants,
Boogie Down Productions,
Robert Görl,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.