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 Venezuela and from Philadelphia.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Manila and Tehran.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 The Gun Club to the electroclash kids.
I played it at CBGB's.
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 Lalann. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Basic Channel,
Stiv Bators,
Erasure,
Boredoms,
Stetsasonic,
Dark Day,
Leonard Cohen,
Andrew Hill,
Los Fastidios,
Dual Sessions,
Motorama,
KRS-One,
Minnie Riperton,
Metal Thangz,
Aaron Thompson,
The Shadows of Knight,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Buzzcocks,
Bill Wells,
The Knickerbockers,
Tears for Fears,
Jesper Dahlback,
Section 25,
Mo-Dettes,
Gil Scott Heron,
Ten City,
The Divine Comedy,
Gil Scott-Heron and Jamie xx,
The Evens,
Organ,
The Smoke,
8 Eyed Spy,
Stockholm Monsters,
Lalo Schifrin,
Mantronix,
The Busters,
Ponytail,
OOIOO,
Icehouse,
The Monks,
Drive Like Jehu,
Zapp,
The Mojo Men,
Yusef Lateef,
Young Marble Giants,
Josef K,
Tropical Tobacco,
Sugar Minott,
Scientists,
Bill Near,
Hasil Adkins,
The Doobie Brothers,
Symarip,
Cluster,
The Dead C,
The Techniques,
Drexciya,
the Slits, the Slits, the Slits, the Slits.
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.