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 France and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Madrid 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 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 Scrapy to the grime 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 Bronski Beat. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Boredoms 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The West Coast Pop Art Experimental Band,
Unrelated Segments,
Loose Ends,
Bill Wells,
Joyce Sims,
The J.B.'s,
CMW,
Aswad,
Thompson Twins,
Tommy Roe,
Pylon,
Sun Ra Arkestra,
Brand Nubian,
Todd Rundgren,
Bad Manners,
John Lydon,
Frankie Knuckles,
The Cowsills,
The Modern Lovers,
Ajijia Myrayebe,
Michelle Simonal,
Ohio Players,
Bang On A Can,
Bob Dylan,
10cc,
Lightning Bolt,
Gang Starr,
Liaisons Dangereuses,
Grey Daturas,
Peter & Gordon,
Stetsasonic,
Andrew Ashong & Theo Parrish,
Echospace,
Rod Modell,
Aural Exciters,
Wire,
Scott Walker,
Gil Scott-Heron & Brian Jackson,
Scan 7,
Talk Talk,
Bauhaus,
Super Lover Cee & Casanova Rud,
Roy Ayers Ubiquity,
Excepter,
Ken Boothe,
Yusef Lateef,
David Axelrod,
The Golliwogs,
Mandrill,
The Men They Couldn't Hang,
Ituana,
John Cale,
Skriet,
Royal Trux,
Theoretical Girls,
Kool G Rap & DJ Polo,
Alison Limerick,
Janne Schatter,
Can,
The Peanut Butter Conspiracy,
The Last Poets,
Country Joe & The Fish,
Sarah Menescal,
the Human League, the Human League, the Human League, the Human League.
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.