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 Libya and from Taipei.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Jakarta 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Dead Boys to the crunk kids.
I played it at the Roxy.
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 Kenny Larkin. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every John Lydon 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your sitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
The Tremeloes,
Hasil Adkins,
Bobby Sherman,
DJ Style,
Traffic Nightmare,
Bill Wells,
Pharoah Sanders,
Bootsy Collins,
Archie Shepp,
Judy Mowatt,
Teenage Jesus and the Jerks,
Super Lover Cee & Casanova Rud,
Public Image Ltd.,
Boredoms,
DNA,
Harry Pussy,
Chris Corsano,
Bizarre Inc.,
Todd Rundgren,
Jerry's Kids,
Dead Boys,
Country Joe & The Fish,
The Misunderstood,
Blancmange,
Massinfluence,
Jimmy McGriff,
Dorothy Ashby,
Strawberry Alarm Clock,
Interpol,
Can,
Ohio Players,
The Neon Judgement,
Ornette Coleman,
The Modern Lovers,
Amazonics,
Cabaret Voltaire,
The Move,
Arab on Radar,
Sällskapet,
Radiohead,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Iggy Pop,
Sly & The Family Stone,
Banda Bassotti,
Cybotron,
The Young Rascals,
Rod Modell,
Main Source,
Soft Cell,
The J.B.'s,
Fela Kuti,
The Flesh Eaters,
Shoche,
Marc Almond,
Robert Görl,
Terrestrial Tones,
Sticky Fingaz feat. Raekwon,
Inner City,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.