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 Russia and from Lagos.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Tehran.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Bootsy's Rubber Band to the rap kids.
I played it at the Troubador.
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 The Litter. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Absolute Body Control,
Stiv Bators,
Albert Ayler,
Audionom,
Japan,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
Icehouse,
Boz Scaggs,
Boredoms,
The Sonics,
Khruangbin,
Banda Bassotti,
Dead Boys,
The Residents,
Kool G Rap & DJ Polo,
Nation of Ulysses,
The Searchers,
James White and The Blacks,
The Cure,
Marine Girls,
Strawberry Alarm Clock,
Chrome,
Sex Pistols,
Eyeless In Gaza,
The Slits,
Cecil Taylor,
Stockholm Monsters,
Derrick May,
Siouxsie and the Banshees,
Rhythm & Sound,
Gregory Isaacs,
Minutemen,
Andrew Ashong & Theo Parrish,
Max Romeo,
Idris Muhammad,
The Smoke,
Mad Mike,
Jawbox,
T.S.O.L.,
Brass Construction,
Sarah Menescal,
Girls At Our Best!,
Jesper Dahlbäck,
Lou Reed & John Cale,
Theoretical Girls,
Juan Atkins,
Babytalk,
The Dirtbombs,
Sticky Fingaz feat. Raekwon,
Lizzy Mercier Descloux,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gian Franco Pienzio,
Half Japanese,
Grey Daturas,
K-Klass,
Piero Umiliani,
Drexciya,
Kas Product,
The Remains, The Remains, The Remains, The Remains.
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.