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 Saudi Arabia and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1974.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Spokane 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Buzzcocks to the grime kids.
I played it at CBGB's.
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 Monks. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Minnie Riperton,
Steve Hackett,
DNA,
Joyce Sims,
Vaughan Mason & Crew,
Derrick May,
X-102,
Aswad,
Jandek,
Bauhaus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
James Chance & The Contortions,
Nik Kershaw,
Gerry Rafferty,
Jesper Dahlbäck,
Spandau Ballet,
Delta 5,
Rekid,
The Victims,
Lower 48,
Stereo Dub,
The Dave Clark Five,
Drexciya,
Sun Ra,
James White and The Blacks,
Liliput,
Q65,
Hot Snakes,
Sex Pistols,
Patti Smith,
The Remains,
Camberwell Now,
Erasure,
Radio Birdman,
Wally Richardson,
Skaos,
The Fuzztones,
The Alarm Clocks,
Sound Behaviour,
the Human League,
Ash Ra Tempel,
Ronan,
Grey Daturas,
Harmonia,
Ajijia Myrayebe,
Warsaw,
10cc,
Marc Romboy vs. Booka Shade,
Lebanon Hanover,
E-Dancer,
Boogie Down Productions,
Scrapy,
New York Dolls,
the Bar-Kays,
Gil Scott Heron,
Carl Craig,
Au Pairs,
Connie Case, Connie Case, Connie Case, Connie Case.
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.