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 Liechtenstein and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
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 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 Searchers to the grime kids.
I played it at the 40 Watt.
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 Kerri Chandler. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Tomorrow,
The West Coast Pop Art Experimental Band,
Rod Modell,
Max Romeo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Pus,
Erasure,
Ken Boothe,
Visage,
Royal Trux,
Youth Brigade,
Davy DMX,
Roy Ayers,
Television Personalities,
Siglo XX,
Blancmange,
Unrelated Segments,
Red Lorry Yellow Lorry,
Isaac Hayes,
Gang Green,
Mad Mike,
James White and The Blacks,
Barbara Tucker,
Eurythmics,
Gastr Del Sol,
Panda Bear,
Altered Images,
Ludus,
The Invisible,
Bootsy Collins,
Deakin,
K-Klass,
Aloha Tigers,
James Chance & The Contortions,
Radio Birdman,
June of 44,
Little Man,
Accadde A,
Robert Hood,
Peter and Kerry,
Niagra,
Radiohead,
Man Eating Sloth,
Bootsy's Rubber Band,
Maleditus Sound,
Derrick Morgan,
Excepter,
Icehouse,
Bang on a Can All-Stars,
Au Pairs,
Hoover,
Jawbox,
Connie Case,
Dorothy Ashby,
the Fania All-Stars,
Mantronix,
Bobbi Humphrey,
Easy Going,
Jimmy McGriff,
Jerry Gold Smith,
Sunsets and Hearts,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.