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 Qatar and from Copenhagen.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Bologna.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Crooked Eye to the grunge kids.
I played it at the Roxy.
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 Crispy Ambulance. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Tomorrow,
Terry Callier,
Jawbox,
It's A Beautiful Day,
The Saints,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
the Germs,
David Axelrod,
Jesper Dahlback,
Oppenheimer Analysis,
Robert Wyatt,
Half Japanese,
Joe Finger,
Vladislav Delay,
Ohio Players,
F. McDonald,
Lou Reed,
Black Moon,
The Smiths,
The Associates,
Siouxsie and the Banshees,
John Cale,
Marvin Gaye,
Subhumans,
Idris Muhammad,
Michelle Simonal,
EPMD,
Mary Jane Girls,
The Skatalites,
Wighnomy Brothers & Robag Wruhme,
Deakin,
Deepchord,
Duran Duran,
The Sound,
Guru Guru,
Connie Case,
Soft Machine,
Pharoah Sanders,
Sarah Menescal,
Talk Talk,
Ronan,
48th St. Collective,
Los Fastidios,
Little Man,
Electric Prunes,
Siglo XX,
Dave Gahan,
Brand Nubian,
Royal Trux,
Anakelly,
Moby Grape,
The Fuzztones,
The Birthday Party,
Hashim,
June of 44,
Metal Thangz,
Intrusion,
Fort Wilson Riot,
John Foxx,
The Electric Prunes,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.