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 Cuba and from Hong Kong.
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 Manchester and London.
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 Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Notorious Big And Bone Thugs to the funk kids.
I played it at the Spitz.
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 Fania All-Stars. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's 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?
Terry Callier,
The Remains,
Scott Walker + Sunn O))),
Jerry Gold Smith,
Aural Exciters,
The Five Americans,
K-Klass,
Fear,
Frankie Knuckles,
The Modern Lovers,
Oppenheimer Analysis,
Bobby Womack,
Johnny Osbourne,
Marine Girls,
Fela Kuti,
Carl Craig,
Ten City,
Moby Grape,
Nick Cave & The Bad Seeds,
It's A Beautiful Day,
The Leaves,
Sonny Sharrock,
The Gories,
Max Romeo,
Gil Scott-Heron and Jamie xx,
Terrestrial Tones,
the Slits,
Deadbeat,
Andrew Ashong & Theo Parrish,
Stockholm Monsters,
Arthur Verocai,
Bob Dylan,
Isaac Hayes,
Dr. Dre and Snoop Doggy Dog,
Amon Düül,
Yazoo,
The Busters,
Junior Murvin,
Anthony Braxton,
Rhythm & Sound,
Sound Behaviour,
Spoonie Gee,
The Martian,
Banda Bassotti,
Matthew Halsall,
kango's stein massive,
London Community Gospel Choir,
Marvin Gaye,
Bluetip,
Grandmaster Flash and the Furious Five,
Albert Ayler,
Orchestral Manoeuvres in the Dark,
Tubeway Army,
X-101,
Q and Not U,
The Techniques,
Peter and Kerry,
June of 44,
John Lydon,
Roy Ayers Ubiquity,
Rites of Spring,
Slick Rick,
Pet Shop Boys,
The Moleskins,
cv313, cv313, cv313, cv313.
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.