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 Uruguay and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Shanghai 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 Wire practice in a loft in Watford.
I was working on the marimba 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 Crash Course in Science to the grime 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 Freddie Wadling. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Saccharine Trust record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Cameo,
Faraquet,
Metal Thangz,
Urselle,
The Smiths,
Mission of Burma,
Ken Boothe,
June of 44,
Kayak,
The Royal Family And The Poor,
Eyeless In Gaza,
Danielle Patucci,
Q and Not U,
CMW,
Slick Rick,
Procol Harum,
The Stooges,
Rites of Spring,
Audionom,
Yusef Lateef,
Cabaret Voltaire,
Ituana,
Sly & The Family Stone,
Wire,
Young Marble Giants,
The Gap Band,
Eli Mardock,
Judy Mowatt,
Lalo Schifrin,
The Searchers,
Pylon,
John Holt,
Drexciya,
Marcia Griffiths,
Vainqueur,
The Blues Magoos,
Jandek,
Severed Heads,
PIL,
Reuben Wilson,
Junior Murvin,
Ornette Coleman,
Ice-T,
The Slits,
Dawn Penn,
Sällskapet,
The Doobie Brothers,
Tommy Roe,
The Red Krayola,
Eric Dolphy,
Derrick May,
Lizzy Mercier Descloux,
Y Pants,
X-Ray Spex,
The Fire Engines,
The Mojo Men,
DJ Sneak,
The Motions,
Lalann, Lalann, Lalann, Lalann.
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.