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 Thailand and from Woodstock.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Soft Cell to the rock kids.
I played it at the Spitz.
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 Scion. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Marshall Jefferson,
The Fuzztones,
Sugar Minott,
Interpol,
Banda Bassotti,
Rites of Spring,
Cecil Taylor,
Lower 48,
David Axelrod,
Idris Muhammad,
Visionaries,LMNO, T- Love & Iriscience,
Roxy Music,
The Star Department,
Young Marble Giants,
Gang Green,
Sällskapet,
Sex Pistols,
Monks,
Joe Finger,
Gang of Four,
Leonard Cohen,
Marc Romboy vs. Booka Shade,
Lee Hazlewood,
Underground Resistance,
Albert Ayler,
Yazoo,
Red Lorry Yellow Lorry,
Jeru the Damaja,
K-Klass,
Pole,
One Last Wish,
Junior Murvin,
L. Decosne,
Louis and Bebe Barron,
Althea and Donna,
Jacob Miller,
Glambeats Corp.,
Ohio Players,
The Detroit Cobras,
Drexciya,
Brand Nubian,
The Blues Magoos,
Warren Ellis,
Pharaoh Sanders and the Fire Engines,
Ronan,
Bill Wells,
Rhythm & Sound,
The Monochrome Set,
Fear,
Hashim,
the Association,
The Chocolate Watch Band,
Dennis Brown,
Terror Squad Feat. Camron,
Radiohead,
The Durutti Column,
Terry Callier,
The Five Americans,
Charles Mingus,
Lungfish,
Marvin Gaye,
R.M.O.,
Lakeside, Lakeside, Lakeside, Lakeside.
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.