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 Korea North and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Interpol 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 Pussy Galore. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Quadrant 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 '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Talk Talk,
Warsaw,
8 Eyed Spy,
Main Source,
The Gun Club,
The Fugs,
X-102,
AZ,
The Men They Couldn't Hang,
Lyres,
Major Organ And The Adding Machine,
The Smiths,
The Pretty Things,
Matthew Bourne,
Rhythim Is Rhythim,
Alphaville,
The Happenings,
The Invisible,
The Seeds,
Echospace,
Jacob Miller,
Janne Schatter,
Sound Behaviour,
The Remains,
Crooked Eye,
Ultra Naté,
Avey Tare's Slasher Flicks,
F. McDonald,
Goldenarms,
Skarface,
Stockholm Monsters,
Glenn Branca,
LL Cool J,
Ultimate Spinach,
The West Coast Pop Art Experimental Band,
Dual Sessions,
Tropical Tobacco,
Ronnie Foster,
MDC,
Rapeman,
Art Ensemble Of Chicago,
Max Romeo,
Maleditus Sound,
Buzzcocks,
Silicon Teens,
John Cale,
Eric Dolphy,
Terry Callier,
Ituana,
The Vogues,
Urselle,
Brass Construction,
James Chance & The Contortions,
Tim Buckley,
Sight & Sound,
kango's stein massive,
Harry Pussy,
The Gap Band,
Susan Cadogan,
Liliput,
Camouflage,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.