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 Guatemala and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Houston 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 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 Soul II Soul to the jazz kids.
I played it at the Crocodile.
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 James Chance & The Contortions. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
The Associates,
CMW,
Henry Cow,
Tom Boy,
Inner City,
The Blackbyrds,
Barbara Tucker,
The Mummies,
Orchestral Manoeuvres in the Dark,
The Angels of Light,
Crooked Eye,
Harry Pussy,
Roger Hodgson,
Lalann,
Connie Case,
Grandmaster Flash and the Furious Five,
Donald Byrd,
Yusef Lateef,
Depeche Mode,
Parry Music,
Terrestrial Tones,
Alphaville,
Pulsallama,
Das Ding,
Unwound,
Godley & Creme,
LL Cool J,
Sixth Finger,
Brass Construction,
DeepChord presents Echospace,
Tomorrow,
Black Moon,
Deadbeat,
Mars,
Chrome,
Black Bananas,
Harmonia,
Arthur Verocai,
Minutemen,
The Wake,
Rod Modell,
China Crisis,
The Zeros,
Warsaw,
Mark Hollis,
Eric Copeland,
Gil Scott Heron,
The Motions,
Sun Ra,
The Grass Roots,
Ronan,
The Sound,
Kenny Larkin,
Boogie Down Productions,
Pere Ubu,
Audionom,
X-Ray Spex,
Red Lorry Yellow Lorry,
Lalo Schifrin,
Organ,
Scan 7,
Flipper,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.