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 Cameroon and from Philadelphia.
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 1973.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Portland 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Bronski Beat to the electroclash kids.
I played it at the Astoria.
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 Hoover. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Thee Headcoats 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 '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground 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?
Archie Shepp,
The Last Poets,
Joyce Sims,
the Germs,
The Kinks,
Robert Görl,
Warsaw,
Michelle Simonal,
Model 500,
Vaughan Mason & Crew,
Laurel Aitken,
Flamin' Groovies,
Goldenarms,
June of 44,
Oneida,
Bluetip,
Fifty Foot Hose,
Simply Red,
Crooked Eye,
Gang Gang Dance,
AZ,
Inner City,
Kaleidoscope,
Pagans,
Radiohead,
Sixth Finger,
Chris & Cosey,
Ronan,
Radio Birdman,
Skriet,
Slave,
DJ Sneak,
Urselle,
Infiniti,
Isaac Hayes,
Lee Hazlewood,
Monolake,
Saccharine Trust,
Icehouse,
Warren Ellis,
Amazonics,
Lightning Bolt,
The Associates,
The Mighty Diamonds,
Heaven 17,
Average White Band,
Public Enemy,
Marc Romboy vs. Booka Shade,
Accadde A,
Todd Terry,
Echospace,
One Last Wish,
Mark Hollis,
Nas,
Siglo XX,
Pulsallama,
Lizzy Mercier Descloux,
Matthew Halsall,
Massinfluence,
the Association,
Rhythm & Sound,
The Monochrome Set,
Motorama,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.