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 Sierra Leone and from Tokyo.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Hot Snakes to the grunge kids.
I played it at the Astoria.
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 Man Parrish. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Boredoms 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Selecter,
Faraquet,
Larry & the Blue Notes,
Kauko Röyhkä ja Narttu,
Aloha Tigers,
Yusef Lateef,
Lou Reed & John Cale,
Johnny Clarke,
Fatback Band,
Maleditus Sound,
Arcadia,
B.T. Express,
the Sonics,
Eric Copeland,
Jerry's Kids,
Quando Quango,
The Misunderstood,
Throbbing Gristle,
Country Teasers,
Alphaville,
Deakin,
The Stooges,
Half Japanese,
Rosa Yemen,
The Chocolate Watch Band,
AZ,
Lalann,
The Searchers,
Talk Talk,
Magazine,
Pet Shop Boys,
Bobby Womack,
Dead Boys,
Man Parrish,
Marc Almond,
Zero Boys,
a-ha,
Mantronix,
The Blues Magoos,
Stockholm Monsters,
Junior Murvin,
These Immortal Souls,
Nas,
The Raincoats,
Mr. Review,
The American Breed,
EPMD,
The Toasters,
The Black Dice,
The Sound,
The Dead C,
Major Organ And The Adding Machine,
Pere Ubu,
Outsiders,
The Gladiators,
Drexciya,
Pulsallama,
Neu!,
Technova,
The Golliwogs,
Justin Hinds & The Dominoes,
Kerri Chandler,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.