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 Liberia and from Accra.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school Lille 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 theremin 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 Intrusion to the grime kids.
I played it at the 40 Watt.
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 The Cramps. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Gang Starr,
Depeche Mode,
James Chance & The Contortions,
Amon Düül II,
Minor Threat,
Roxette,
Ice-T,
Stetsasonic,
The Associates,
The Count Five,
Jesper Dahlbäck,
The Misunderstood,
Marc Almond,
UT,
Quando Quango,
Vladislav Delay,
Crispian St. Peters,
Sex Pistols,
The Names,
Captain Beefheart & His Magic Band,
Rotary Connection,
The Beau Brummels,
David Axelrod,
X-Ray Spex,
T.S.O.L.,
Wolf Eyes,
Bang on a Can All-Stars,
The Peanut Butter Conspiracy,
Jerry's Kids,
the Germs,
Smog,
Pole,
Delon & Dalcan,
Lee Hazlewood,
Thee Headcoats,
Youth Brigade,
Max Romeo,
Main Source,
MC5,
kango's stein massive,
Kenny Larkin,
Skaos,
Rhythim Is Rhythim,
Tom Boy,
The Gories,
A Certain Ratio,
Freddie Wadling,
Altered Images,
Jacques Brel,
Siglo XX,
Ten City,
Sound Behaviour,
Cybotron,
Masters at Work,
DeepChord presents Echospace,
Orchestral Manoeuvres in the Dark,
The Sisters of Mercy,
Avey Tare's Slasher Flicks,
The Seeds,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.