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 Eritrea and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Hong Kong 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Underground Resistance 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 Justin Hinds & The Dominoes. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
the Bar-Kays,
Pylon,
Pharaoh Sanders and the Fire Engines,
Vaughan Mason & Crew,
Neu!,
the Slits,
Amon Düül II,
Siglo XX,
Lalo Schifrin,
Kings Of Tomorrow,
John Coltrane,
The Selecter,
Kool G Rap & DJ Polo,
Iggy Pop,
Liaisons Dangereuses,
Sarah Menescal,
Country Joe & The Fish,
EPMD,
Eyeless In Gaza,
Malaria!,
Maurizio,
Radiohead,
Khruangbin,
Janne Schatter,
10cc,
The Young Rascals,
The Divine Comedy,
Bluetip,
Suicide,
Negative Approach,
Zero Boys,
Sonny Sharrock,
Gong,
Flipper,
Röyhkä ja Rättö ja Lehtisalo,
Mad Mike,
Dawn Penn,
Peter Gordon & Love of Life Orchestra,
Frankie Knuckles,
Half Japanese,
Rites of Spring,
Echospace,
Barclay James Harvest,
Arab on Radar,
Magazine,
Lafayette Afro Rock Band,
Fatback Band,
Ossler,
Bobby Womack,
Sight & Sound,
The Black Dice,
Kayak,
John Cale,
Jeru the Damaja,
Cymande,
John Foxx,
Eden Ahbez,
The Smiths, The Smiths, The Smiths, The Smiths.
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.