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 Palau and from Salvador.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Oblivians to the rap 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 Pagans. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every 48th St. Collective 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Warsaw,
Bauhaus,
Orchestral Manoeuvres in the Dark,
The Alarm Clocks,
Technova,
Rhythm & Sound,
The J.B.'s,
Adolescents,
the Normal,
Bootsy's Rubber Band,
Bobby Hutcherson,
LL Cool J,
The Sonics,
Gong,
Sixth Finger,
Hasil Adkins,
Parry Music,
Camberwell Now,
The Young Rascals,
Godley & Creme,
Bootsy Collins,
Lower 48,
Peter & Gordon,
Maleditus Sound,
Sällskapet,
Scan 7,
Bizarre Inc.,
Livin' Joy,
Byron Stingily,
Flamin' Groovies,
Suburban Knight,
Dual Sessions,
Oppenheimer Analysis,
David McCallum,
Cabaret Voltaire,
Fela Kuti,
Cybotron,
Robert Wyatt,
Mo-Dettes,
Funky Four + One,
Underground Resistance,
Black Moon,
Tubeway Army,
Nico,
Maurizio,
Stiv Bators,
Gary Puckett & The Union Gap,
Basic Channel,
Wire,
Kool G Rap & DJ Polo,
Thompson Twins,
Lafayette Afro Rock Band,
Rosa Yemen,
Slick Rick,
Ultimate Spinach,
Blossom Toes,
Lee Hazlewood,
Louis and Bebe Barron,
The Associates,
Isaac Hayes,
Captain Beefheart & His Magic Band,
Idris Muhammad,
Ralphi Rosario,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.