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 Niger and from Columbus.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Seoul 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 808 sounds with much patience.
I was there when Lou Reed 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 Marine Girls to the funk kids.
I played it at the Crocodile.
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 Marcia Griffiths. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Motorama 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Glambeats Corp.,
Big Daddy Kane,
The Dave Clark Five,
Gastr Del Sol,
The Pretty Things,
Bobbi Humphrey,
Bauhaus,
Lonnie Liston Smith,
Dawn Penn,
FM Einheit,
Skarface,
The New Christs,
Stockholm Monsters,
Model 500,
Yellowson,
ABC,
The West Coast Pop Art Experimental Band,
B.T. Express,
Gang Green,
Camouflage,
The Human League,
Darondo,
Bang On A Can,
Max Romeo,
Faraquet,
Traffic Nightmare,
Hoover,
Animal Collective,
The Flesh Eaters,
The Doobie Brothers,
Aaron Thompson,
Inner City,
Royal Trux,
Television,
Loose Ends,
The Smoke,
Fad Gadget,
Funkadelic,
The Shadows of Knight,
Jawbox,
The Kinks,
Gong,
Dr. Dre and Snoop Doggy Dog,
The Peanut Butter Conspiracy,
H. Thieme,
kango's stein massive,
The Grass Roots,
Crooked Eye,
Warren Ellis,
Marcia Griffiths,
Sandy B,
L. Decosne,
The Seeds,
Spoonie Gee,
Babytalk,
Ornette Coleman,
Joy Division,
Basic Channel,
Girls At Our Best!,
Sällskapet,
The Monks,
Slave, Slave, Slave, Slave.
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.