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 Bulgaria and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Johannesburg 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 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 The Doobie Brothers to the techno kids.
I played it at the Troubador.
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 Soul II Soul. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Joe Finger,
T. Rex,
The Blackbyrds,
The Slits,
Moby Grape,
Rhythm & Sound,
Nick Fraelich,
Porter Ricks,
Delon & Dalcan,
The Monks,
Unwound,
Brand Nubian,
The Dead C,
Gil Scott-Heron & Brian Jackson,
Deepchord,
Motorama,
Hasil Adkins,
The Star Department,
Ornette Coleman,
Monks,
Shoche,
Flamin' Groovies,
Lafayette Afro Rock Band,
John Foxx,
Althea and Donna,
Eyeless In Gaza,
Skriet,
Faust,
Soul Sonic Force,
Wighnomy Brothers & Robag Wruhme,
The American Breed,
Aaron Thompson,
Kerrie Biddell,
The Red Krayola,
Grey Daturas,
Jandek,
Super Lover Cee & Casanova Rud,
Ultravox,
ABBA,
Gil Scott Heron,
The Angels of Light,
Marine Girls,
Yaz,
Mark Hollis,
Amon Düül,
Jesper Dahlback,
cv313,
Sun Ra Arkestra,
Yazoo,
Second Layer,
Adolescents,
Main Source,
The Offenders,
It's A Beautiful Day,
Smog,
Neu!,
Rites of Spring,
Lou Reed & John Cale,
Radiopuhelimet,
Avey Tare,
Suicide,
Crime,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.