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 Samoa 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 1967 to 1978.
I'm losing my edge.
To all the kids in Manila and New York.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlbäck to the electroclash 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 Beasts of Bourbon. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Crispy Ambulance 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 '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Cal Tjader,
The Stooges,
Black Sheep,
Agent Orange,
The Real Kids,
Big Daddy Kane,
The Sound,
Goldenarms,
Skriet,
Pantytec,
Rahsaan Roland Kirk,
The Dirtbombs,
Wolf Eyes,
London Community Gospel Choir,
Kool Moe Dee,
Todd Rundgren,
Mary Jane Girls,
Bluetip,
Matthew Halsall,
Nas,
Shoche,
The Birthday Party,
Crispian St. Peters,
The Associates,
H. Thieme,
Supertramp,
Robert Görl,
Rites of Spring,
Masters at Work,
Henry Cow,
Sister Nancy,
Aswad,
The Wake,
Stereo Dub,
Talk Talk,
Glambeats Corp.,
Jesper Dahlbäck,
Silicon Teens,
Kurtis Blow,
Organ,
The Index,
Bootsy Collins,
K-Klass,
Con Funk Shun,
Robert Wyatt,
Sad Lovers and Giants,
Sly & The Family Stone,
Quantec,
Cameo,
Pete Rock & C.L. Smooth,
Bob Dylan,
The Star Department,
New Age Steppers,
The Fall,
Alphaville,
Quando Quango,
Unwound,
Ossler,
The Happenings,
Tommy Roe,
Marc Romboy vs. Booka Shade,
Can,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.