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 Vanuatu and from Woodstock.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Mexico City 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 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 John Lydon to the techno 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 Amazonics. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Howard Jones 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 '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Unrelated Segments,
Joyce Sims,
Rakim,
Eve St. Jones,
Joensuu 1685,
Arab on Radar,
Visage,
Moby Grape,
Ossler,
Patti Smith,
Gregory Isaacs,
Public Image Ltd.,
Marmalade,
Erykah Badu,
Nick Cave & The Bad Seeds,
Gil Scott-Heron & Brian Jackson,
The Dirtbombs,
Soft Cell,
Bang On A Can,
The Mojo Men,
Slave,
London Community Gospel Choir,
Minor Threat,
the Bar-Kays,
Ituana,
The Men They Couldn't Hang,
Richard Hell and the Voidoids,
Mr. Review,
Royal Trux,
Sällskapet,
Curtis Mayfield,
John Coltrane,
Infiniti,
The Fuzztones,
Bang on a Can All-Stars,
Jimmy McGriff,
H. Thieme,
Ken Boothe,
Brass Construction,
Swell Maps,
the Germs,
Reuben Wilson,
Popol Vuh,
Wolf Eyes,
The Offenders,
Jacques Brel,
The Peanut Butter Conspiracy,
Sam Rivers,
The Kinks,
Blancmange,
Maleditus Sound,
Yazoo,
Lafayette Afro Rock Band,
Kool G Rap & DJ Polo,
Deadbeat,
Terrestrial Tones,
K-Klass,
Scott Walker,
Davy DMX,
Roxy Music,
CMW, CMW, CMW, CMW.
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.