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 Kosovo and from Woodstock.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
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 harpsichord 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 Fela Kuti to the crunk kids.
I played it at the Crocodile.
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 Little Man. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Masters at Work,
Man Eating Sloth,
B.T. Express,
Rotary Connection,
It's A Beautiful Day,
DeepChord presents Echospace,
Darondo,
Sad Lovers and Giants,
Gil Scott Heron,
Camouflage,
Quando Quango,
Fad Gadget,
Siouxsie and the Banshees,
Lou Reed,
Yazoo,
Eurythmics,
Supertramp,
Joe Finger,
Ronnie Foster,
Pantytec,
Dawn Penn,
Sixth Finger,
Wasted Youth,
The Sisters of Mercy,
Bad Manners,
Barrington Levy,
Zapp,
Andrew Ashong & Theo Parrish,
Gang Starr,
The Misunderstood,
Black Moon,
Susan Cadogan,
Rapeman,
Average White Band,
Lou Christie,
Soul II Soul,
Nils Olav,
Sugar Minott,
The Star Department,
Eve St. Jones,
K-Klass,
Henry Cow,
Royal Trux,
Spandau Ballet,
Scientists,
DJ Sneak,
The Alarm Clocks,
48th St. Collective,
Circle Jerks,
Suicide,
Roy Ayers,
Strawberry Alarm Clock,
Pylon,
Intrusion,
John Holt,
Rod Modell,
Ohio Players,
Scratch Acid,
David Axelrod,
Slave,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.