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 Turkey and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Lyon 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 snare sounds with much patience.
I was there when Captain Beefheart 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 The Angels of Light to the disco 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 Q65. All the underground hits.
All UT tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Ken Boothe,
Susan Cadogan,
Leonard Cohen,
Major Organ And The Adding Machine,
The Remains,
David Axelrod,
Desert Stars,
The Busters,
Stetsasonic,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Harry Pussy,
Spoonie Gee,
Marcia Griffiths,
John Holt,
The Residents,
June of 44,
Marshall Jefferson,
Jerry's Kids,
48th St. Collective,
Crispy Ambulance,
Vladislav Delay,
Stockholm Monsters,
Sly & The Family Stone,
Technova,
Michelle Simonal,
Frankie Knuckles,
Connie Case,
Bootsy Collins,
Pole,
the Soft Cell,
John Cale,
The Last Poets,
Robert Görl,
Livin' Joy,
Man Parrish,
Average White Band,
The American Breed,
The Litter,
Marc Romboy vs. Booka Shade,
Rhythm & Sound,
Janne Schatter,
Henry Cow,
Monolake,
Scan 7,
Nils Olav,
Röyhkä ja Rättö ja Lehtisalo,
Los Fastidios,
David Bowie,
Bobby Byrd,
Altered Images,
Scratch Acid,
PIL,
Lower 48,
Dead Boys,
The Cosmic Jokers,
The Sisters of Mercy,
Brass Construction,
Eric Copeland,
The Smoke,
Anakelly, Anakelly, Anakelly, Anakelly.
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.