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 Djibouti and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Urselle to the funk 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 Deakin. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
The Velvet Underground,
Camberwell Now,
Alison Limerick,
Joyce Sims,
Tomorrow,
The United States of America,
The Vogues,
Au Pairs,
Harry Pussy,
Susan Cadogan,
R.M.O.,
Teenage Jesus and the Jerks,
Bobbi Humphrey,
Eric Dolphy,
Brick,
Parry Music,
The Young Rascals,
Quantec,
10cc,
Cheater Slicks,
Dave Gahan,
Derrick May,
It's A Beautiful Day,
Y Pants,
Camouflage,
Brass Construction,
Nick Cave & The Bad Seeds,
Connie Case,
Soul II Soul,
Bill Wells,
The Real Kids,
Eric B and Rakim,
Mr. Review,
the Fania All-Stars,
Jerry's Kids,
Lou Reed,
Animal Collective,
The J.B.'s,
The Martian,
Pere Ubu,
Nick Fraelich,
Ultra Naté,
Iggy Pop,
Kenny Larkin,
Magma,
Henry Cow,
Lafayette Afro Rock Band,
Circle Jerks,
Bobby Womack,
Lightning Bolt,
Black Moon,
OOIOO,
Gang Gang Dance,
Roxette,
The Durutti Column,
Organ,
Suburban Knight,
Skaos,
The Evens,
Zapp, Zapp, Zapp, Zapp.
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.