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 Mauritania and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Joensuu 1685 to the punk 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 John Holt. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Spoonie Gee,
Neu!,
Rekid,
Scion,
Tres Demented,
Joey Negro,
Michelle Simonal,
Sunsets and Hearts,
The Vogues,
D'Angelo,
Soft Cell,
Cal Tjader,
The Names,
The Moleskins,
The United States of America,
Nik Kershaw,
The Busters,
Organ,
Banda Bassotti,
Bobby Byrd,
Fifty Foot Hose,
Gian Franco Pienzio,
Magazine,
Monks,
London Community Gospel Choir,
10cc,
Lyres,
Circle Jerks,
T.S.O.L.,
The Searchers,
Johnny Osbourne,
Tears for Fears,
Big Daddy Kane,
The Music Machine,
Mandrill,
the Fania All-Stars,
The Barracudas,
The Beau Brummels,
Reagan Youth,
the Normal,
Arab on Radar,
Accadde A,
the Swans,
Public Enemy,
Livin' Joy,
The American Breed,
Jeff Mills,
Bauhaus,
The Gories,
Glenn Branca,
Stiv Bators,
Ralphi Rosario,
Dave Gahan,
Anakelly,
Avey Tare & Kría Brekkan,
Kaleidoscope,
The Toasters,
Siglo XX,
The Fall, The Fall, The Fall, The Fall.
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.