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 Nicaragua and from Lyon.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school London 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 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 Toni Rubio to the punk kids.
I played it at Trash.
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 Fat Boys. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
X-102,
The Fire Engines,
Byron Stingily,
Bizarre Inc.,
Derrick Morgan,
Los Fastidios,
EPMD,
Camouflage,
Jesper Dahlback,
Sarah Menescal,
Pet Shop Boys,
Siglo XX,
the Association,
Bootsy Collins,
The Smoke,
Buzzcocks,
Royal Trux,
Traffic Nightmare,
Grandmaster Flash and the Furious Five,
Lungfish,
Duran Duran,
Selector Dub Narcotic,
Eddi Front,
Peter Gordon & Love of Life Orchestra,
Robert Wyatt,
Laurel Aitken,
Groovy Waters,
Suburban Knight,
Black Flag,
Icehouse,
the Normal,
Black Bananas,
Junior Murvin,
Kings Of Tomorrow,
Newcleus,
The Toasters,
Anakelly,
Sam Rivers,
Soft Machine,
Terror Squad Feat. Camron,
Terrestrial Tones,
Amon Düül II,
Lyres,
Marmalade,
Teenage Jesus and the Jerks,
The J.B.'s,
Spandau Ballet,
One Last Wish,
Faust,
Neu!,
Cymande,
X-Ray Spex,
Stockholm Monsters,
Ultravox,
Ultramagnetic MC's,
Franke,
Flipper,
Charles Mingus,
Dave Gahan,
Kenny Larkin,
David Axelrod,
The United States of America,
Brick, Brick, Brick, Brick.
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.