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 Azerbaijan and from Bologna.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 The Star Department to the grunge kids.
I played it at Trash.
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 John Cale. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
The Leaves,
Andrew Ashong & Theo Parrish,
Darondo,
Rowland S Howard / Lydia Lunch,
Shoche,
DJ Sneak,
Marc Romboy vs. Booka Shade,
Magma,
Brand Nubian,
the Germs,
The Star Department,
Joensuu 1685,
Camouflage,
Gang Green,
James White and The Blacks,
Sandy B,
Gong,
Main Source,
Kayak,
Clear Light,
Judy Mowatt,
Susan Cadogan,
Kaleidoscope,
Bob Dylan,
Aural Exciters,
Scion,
Circle Jerks,
The Associates,
Junior Murvin,
The Buckinghams,
Organ,
John Foxx,
Ralphi Rosario,
Television,
Spoonie Gee,
Lou Christie,
MDC,
Jimmy McGriff,
Funky Four + One,
Zapp,
The Sound,
Graham Central Station,
A Certain Ratio,
John Lydon,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Captain Beefheart & His Magic Band,
Ajijia Myrayebe,
Jawbox,
Marshall Jefferson,
Steve Hackett,
Reagan Youth,
Urselle,
the Sonics,
Rosa Yemen,
Grandmaster Flash and the Furious Five,
Man Eating Sloth,
Das Ding,
Model 500,
Scrapy,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.