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 Ghana and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 John Holt to the funk 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 Make Up. All the underground hits.
All UT tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Tommy Roe,
The Litter,
Prince Buster,
The Grass Roots,
Ultravox,
Gil Scott-Heron & Brian Jackson,
The Victims,
Mr. Review,
Minnie Riperton,
Groovy Waters,
Matthew Bourne,
Electric Prunes,
The Invisible,
The United States of America,
Girls At Our Best!,
Ralphi Rosario,
Section 25,
Danielle Patucci,
The New Christs,
Black Flag,
Gong,
the Slits,
The Dave Clark Five,
June of 44,
Spoonie Gee,
Rekid,
Slave,
48th St. Collective,
The Star Department,
Inner City,
Thinking Fellers Union Local 282,
The Tremeloes,
Glambeats Corp.,
Accadde A,
The Beau Brummels,
Country Teasers,
New Order,
Marcia Griffiths,
Funkadelic,
Buzzcocks,
Eli Mardock,
Bush Tetras,
Simply Red,
Television Personalities,
Bobbi Humphrey,
Fugazi,
Jesper Dahlback,
Grauzone,
Au Pairs,
Ajijia Myrayebe,
Monolake,
Unrelated Segments,
Excepter,
Harpers Bizarre,
Sex Pistols,
Swans,
The Cramps,
Niagra,
Audionom,
Jeru the Damaja,
L. Decosne,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.