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 Estonia and from Lagos.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Cairo 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 808 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 Shoche to the grime kids.
I played it at CBGB's.
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 Minnie Riperton. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
John Foxx,
Bauhaus,
Tres Demented,
Black Sheep,
Nirvana,
cv313,
Scion,
10cc,
Kaleidoscope,
Grandmaster Flash,
The Misunderstood,
Ajijia Myrayebe,
Hardrive,
Dorothy Ashby,
the Soft Cell,
MDC,
Bad Manners,
Radiohead,
Wire,
The Residents,
Alton Ellis,
Inner City,
Kenny Larkin,
Cluster,
Unrelated Segments,
Franke,
Howard Jones,
Electric Light Orchestra,
June of 44,
Buzzcocks,
Derrick Morgan,
Gastr Del Sol,
The Mighty Diamonds,
Flamin' Groovies,
The Durutti Column,
Index,
Royal Trux,
John Lydon,
The Smiths,
Malaria!,
Country Teasers,
Cybotron,
Trumans Water,
Technova,
Japan,
Bronski Beat,
Accadde A,
Harry Pussy,
The Red Krayola,
Television,
Lower 48,
Dennis Brown,
Ultramagnetic MC's,
a-ha,
F. McDonald,
Crooked Eye,
Lightning Bolt,
Alice Coltrane,
the Swans,
Goldenarms,
Hashim,
Spoonie Gee,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.