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 Cameroon and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Tehran.
I'm losing my edge to the art-school Mumbai 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 808 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 The Shadows of Knight to the techno 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 Pussy Galore. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
The West Coast Pop Art Experimental Band,
Sarah Menescal,
Chris & Cosey,
Marc Romboy vs. Booka Shade,
Roy Ayers,
Sixth Finger,
Pharoah Sanders,
The Sound,
the Human League,
James Chance & The Contortions,
Sun Ra Arkestra,
June Days,
Camron Feat. Jay Z And Juelz,
Davy DMX,
Suburban Knight,
Flamin' Groovies,
Pierre Henry,
Gerry Rafferty,
Notorious BIG live in Amsterdam,
Stereo Dub,
Boogie Down Productions,
Moebius,
Blancmange,
Howard Jones,
Dennis Brown,
Ash Ra Tempel,
Niagra,
Amazonics,
the Bar-Kays,
The Victims,
Althea and Donna,
Parry Music,
The Saints,
Big Daddy Kane,
Pantaleimon,
The Jesus and Mary Chain,
Metal Thangz,
Gichy Dan,
The Mummies,
Scratch Acid,
Arab on Radar,
Tears for Fears,
Skaos,
Nick Cave & The Bad Seeds,
Cecil Taylor,
Tropical Tobacco,
Lou Reed & John Cale,
Urselle,
Al Stewart,
Dark Day,
The Raincoats,
Eden Ahbez,
H. Thieme,
Das Ding,
Faraquet,
Ronnie Foster,
the Slits,
The Seeds,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.