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 South Sudan and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Edmonton 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Lebanon Hanover to the punk kids.
I played it at the Hacienda.
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 Sugar Minott. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Pretty Things 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
The Evens,
Black Bananas,
Harpers Bizarre,
Gregory Isaacs,
Procol Harum,
Negative Approach,
Neu!,
Laurel Aitken,
Ohio Players,
Mark Hollis,
Eli Mardock,
Stiv Bators,
Drexciya,
The Pop Group,
Essential Logic,
The Vogues,
The Cowsills,
Freddie Wadling,
D'Angelo,
Lindisfarne,
John Cale,
Roxette,
The Count Five,
Siglo XX,
Bobby Hutcherson,
Gang Starr,
Moebius,
The West Coast Pop Art Experimental Band,
Kerrie Biddell,
Avey Tare,
The Detroit Cobras,
Bang on a Can All-Stars,
Glenn Branca,
Fifty Foot Hose,
Brass Construction,
DJ Sneak,
Youth Brigade,
The Red Krayola,
The Barracudas,
Chris & Cosey,
Johnny Osbourne,
The Doobie Brothers,
New York Dolls,
Electric Prunes,
Lightning Bolt,
Dark Day,
The Monks,
Radiopuhelimet,
Fugazi,
Mandrill,
Eve St. Jones,
Depeche Mode,
The Cosmic Jokers,
Blake Baxter,
Sister Nancy,
Tubeway Army,
Interpol,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.