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 Macedonia and from Hong Kong.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Paris 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 Art of Noise practice in a loft in London.
I was working on the mellotron 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 Ajijia Myrayebe to the funk 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 Echo & the Bunnymen. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Sarah Menescal 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 '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Red Krayola,
Dead Boys,
DNA,
Chris & Cosey,
The Names,
Bill Wells,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oneida,
Blancmange,
X-102,
Max Romeo,
Mark Hollis,
Joensuu 1685,
Yusef Lateef,
Model 500,
Roy Ayers,
The Martian,
Deepchord,
Electric Light Orchestra,
The Sisters of Mercy,
The Royal Family And The Poor,
Kool Moe Dee,
The Star Department,
Bang On A Can,
Barbara Tucker,
Goldenarms,
Unwound,
Pete Rock & C.L. Smooth,
DJ Style,
Ralphi Rosario,
Technova,
Reuben Wilson,
Radiohead,
DJ Sneak,
Loose Ends,
David Axelrod,
Von Mondo,
Matthew Halsall,
Minnie Riperton,
Ash Ra Tempel,
Gian Franco Pienzio,
the Normal,
Swell Maps,
Lower 48,
Bad Manners,
The Dave Clark Five,
Television Personalities,
Aswad,
The Cramps,
The Pop Group,
Juan Atkins,
The Electric Prunes,
David Bowie,
Groovy Waters,
Bauhaus,
The Doobie Brothers,
Gil Scott Heron,
Talk Talk,
Yazoo,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.