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 Somalia and from Winnipeg.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Black Moon to the punk kids.
I played it at the Spitz.
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 Aaron Thompson. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The Golliwogs,
The Fortunes,
Larry & the Blue Notes,
Danielle Patucci,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jimmy McGriff,
Bootsy's Rubber Band,
CMW,
Accadde A,
Toni Rubio,
Althea and Donna,
Mission of Burma,
Mandrill,
Janne Schatter,
Hot Snakes,
June of 44,
Harpers Bizarre,
Angry Samoans,
James Chance & The Contortions,
DJ Style,
Marmalade,
JFA,
EPMD,
Pierre Henry,
Joy Division,
Khruangbin,
Massinfluence,
The Martian,
Camberwell Now,
Funkadelic,
The American Breed,
Rapeman,
Funky Four + One,
Joe Finger,
Nico,
Oppenheimer Analysis,
Terry Callier,
Strawberry Alarm Clock,
Make Up,
R.M.O.,
The Alarm Clocks,
Fear,
Warren Ellis,
Ultra Naté,
Pantaleimon,
Sparks,
The Saints,
Pylon,
Quantec,
Tropical Tobacco,
Mars,
Dawn Penn,
Colin Newman,
T. Rex,
The Smoke,
Ludus,
Laurel Aitken,
Barry Ungar,
Delta 5,
Kaleidoscope,
Jandek,
Al Stewart,
N.O.R.E. Featuring Pharrell,
John Lydon, John Lydon, John Lydon, John Lydon.
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.