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 Sierra Leone and from Lyon.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Winnipeg 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 Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Sugar Minott to the rap 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 The Five Americans. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Liaisons Dangereuses,
Bizarre Inc.,
The Alarm Clocks,
Kool Moe Dee,
Lou Reed & John Cale,
Arcadia,
Gary Puckett & The Union Gap,
Rosa Yemen,
Deepchord,
Japan,
Anakelly,
The Sound,
Schoolly D,
Lou Christie,
Jandek,
Black Flag,
Agent Orange,
Unwound,
Malaria!,
Nirvana,
Brass Construction,
Ituana,
KRS-One,
Anthony Braxton,
Thee Headcoats,
Bill Wells,
Vaughan Mason & Crew,
Selector Dub Narcotic,
Bronski Beat,
Davy DMX,
Junior Murvin,
Sun City Girls,
Al Stewart,
Maurizio,
Toni Rubio,
JFA,
B.T. Express,
Skriet,
Soulsonic Force,
Excepter,
Smog,
John Holt,
Ten City,
Jawbox,
Wasted Youth,
The Fuzztones,
Rhythm & Sound,
The Vogues,
Louis and Bebe Barron,
Kauko Röyhkä ja Narttu,
Tres Demented,
The Durutti Column,
The Seeds,
Visionaries,LMNO, T- Love & Iriscience,
Janne Schatter,
London Community Gospel Choir,
Eve St. Jones,
Boogie Down Productions,
The Cowsills,
Moby Grape,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.