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 Congo and from Bremen.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the crunk kids.
I played it at the Astoria.
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 Pylon. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every The Move 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
The Gun Club,
48th St. Collective,
Drexciya,
Black Pus,
Kerrie Biddell,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Leaves,
Bob Dylan,
In Retrospect,
Visage,
Manfred Mann's Earth Band,
Minor Threat,
Average White Band,
Andrew Hill,
The American Breed,
Wire,
Bootsy Collins,
The Men They Couldn't Hang,
The Real Kids,
a-ha,
Jandek,
The Sonics,
the Fania All-Stars,
Excepter,
Roy Ayers,
Gang Gang Dance,
Hasil Adkins,
Crispian St. Peters,
Popol Vuh,
Gary Puckett & The Union Gap,
Echo & the Bunnymen,
The Smiths,
Dr. Dre and Snoop Doggy Dog,
Tommy Roe,
Newcleus,
Tres Demented,
The Skatalites,
Half Japanese,
The Modern Lovers,
Gerry Rafferty,
The Black Dice,
Johnny Osbourne,
Marvin Gaye,
Kurtis Blow,
Subhumans,
Visionaries,LMNO, T- Love & Iriscience,
Rapeman,
Cecil Taylor,
Joy Division,
Lyres,
The Zeros,
FM Einheit,
The Dirtbombs,
Marine Girls,
Marmalade,
The Cure,
The Alarm Clocks,
Avey Tare & Kría Brekkan,
Japan,
R.M.O.,
the Association, the Association, the Association, the Association.
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.