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 Suriname and from Woodstock.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Scratch Acid to the crunk 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 Icehouse. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every The Trojans 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Half Japanese,
X-101,
Camberwell Now,
DNA,
Accadde A,
Lyres,
Hashim,
Sly & The Family Stone,
Supertramp,
The Fortunes,
Aaron Thompson,
Dawn Penn,
The Jesus and Mary Chain,
Glenn Branca,
Black Sheep,
Angry Samoans,
Wasted Youth,
Arab on Radar,
Gichy Dan,
Black Flag,
Lightning Bolt,
Lonnie Liston Smith,
Amon Düül II,
Roxette,
The Pop Group,
the Association,
Grauzone,
Duran Duran,
Moebius,
Jacob Miller,
Funky Four + One,
Easy Going,
Eric Dolphy,
Kauko Röyhkä ja Narttu,
the Slits,
Sunsets and Hearts,
Moby Grape,
Howard Jones,
Grandmaster Flash,
Barrington Levy,
The Knickerbockers,
Lebanon Hanover,
Joey Negro,
World's Most,
Au Pairs,
Albert Ayler,
Captain Beefheart & His Magic Band,
Kerri Chandler,
The Gories,
These Immortal Souls,
Stereo Dub,
Eden Ahbez,
Country Joe & The Fish,
Warren Ellis,
The Cure,
Amazonics,
Judy Mowatt,
The Residents,
Barry Ungar,
Rakim,
Nico, Nico, Nico, Nico.
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.