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 Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 Fat Boys to the disco kids.
I played it at Cafe Wha.
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 Monks. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
The Wake,
Fugazi,
Organ,
Radio Birdman,
Marmalade,
Darondo,
Ornette Coleman,
The Durutti Column,
Max Romeo,
Cal Tjader,
Marc Almond,
D'Angelo,
John Foxx,
Niagra,
Barclay James Harvest,
Bill Wells,
The Residents,
Rakim,
Danielle Patucci,
Avey Tare & Kría Brekkan,
Gang Starr,
Circle Jerks,
Bronski Beat,
Kaleidoscope,
Donald Byrd,
The Toasters,
Franke,
Deutsch Amerikanische Freundschaft,
Johnny Clarke,
The Vogues,
Crispy Ambulance,
Judy Mowatt,
Scrapy,
Sixth Finger,
Simply Red,
Tears for Fears,
Pylon,
The Seeds,
Pharoah Sanders,
Public Image Ltd.,
Make Up,
8 Eyed Spy,
Bizarre Inc.,
Skaos,
Angry Samoans,
Sandy B,
Boz Scaggs,
Leonard Cohen,
The Divine Comedy,
Andrew Hill,
Michelle Simonal,
Strawberry Alarm Clock,
The Evens,
The Golliwogs,
The Real Kids,
James White and The Blacks,
Thee Headcoats,
the Normal,
Kango’s Stein Massive,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.