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 Czech Republic and from Copenhagen.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Salvador 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 linndrum 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 The Gories to the electroclash kids.
I played it at the Hacienda.
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 Porter Ricks. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Crime,
Pylon,
Michelle Simonal,
Selector Dub Narcotic,
Dark Day,
Quando Quango,
The Cowsills,
Sixth Finger,
Talk Talk,
Ornette Coleman,
Make Up,
Au Pairs,
UT,
Amon Düül II,
The Pop Group,
The Martian,
Monolake,
the Fania All-Stars,
LL Cool J,
Dr. Dre and Snoop Doggy Dog,
Quadrant,
Robert Wyatt,
Fugazi,
Crooked Eye,
Alison Limerick,
Johnny Osbourne,
Kerri Chandler,
Max Romeo,
Bang on a Can All-Stars,
Lakeside,
Jeff Mills,
Shuggie Otis,
the Slits,
Metal Thangz,
Eurythmics,
a-ha,
Accadde A,
Stiv Bators,
Amazonics,
Liaisons Dangereuses,
Lalo Schifrin,
48th St. Collective,
Cabaret Voltaire,
The American Breed,
The Moody Blues,
Joy Division,
Von Mondo,
Ronan,
Sly & The Family Stone,
Lyres,
Electric Light Orchestra,
The Index,
The Fortunes,
Fluxion,
Absolute Body Control,
Harpers Bizarre,
The United States of America,
Little Man,
Pole,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.