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 Burkina and from Manila.
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 1970.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Second Layer to the crunk 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 Harry Pussy. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Cameo,
Sparks,
The Moleskins,
Kool G Rap & DJ Polo,
Louis and Bebe Barron,
Eurythmics,
Easy Going,
The Velvet Underground,
Derrick Morgan,
Be Bop Deluxe,
The Last Poets,
Dark Day,
Ronnie Foster,
Quantec,
L. Decosne,
Iggy Pop,
Fugazi,
The Pretty Things,
Grauzone,
The Sound,
The Smiths,
Donny Hathaway,
The Modern Lovers,
Ituana,
Skarface,
Girls At Our Best!,
Black Sheep,
Johnny Clarke,
Minnie Riperton,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gregory Isaacs,
Lou Reed,
The Leaves,
Spandau Ballet,
Nils Olav,
Excepter,
Peter & Gordon,
Visionaries,LMNO, T- Love & Iriscience,
Yazoo,
Roger Hodgson,
Nick Fraelich,
Sex Pistols,
Thompson Twins,
Mission of Burma,
Q and Not U,
Spoonie Gee,
Idris Muhammad,
Juan Atkins,
Roy Ayers,
Isaac Hayes,
Peter and Kerry,
T.S.O.L.,
Amon Düül,
Popol Vuh,
D'Angelo,
Sun City Girls,
Scrapy,
Piero Umiliani,
Arthur Verocai,
Urselle,
La Düsseldorf,
Sunsets and Hearts,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.