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 El Salvador and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Columbus 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 snare 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 Aloha Tigers to the rock 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 Albert Ayler. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Idris Muhammad,
PIL,
The Victims,
OOIOO,
Procol Harum,
Infiniti,
Archie Shepp,
Supertramp,
Fluxion,
Patti Smith,
Frankie Knuckles,
Judy Mowatt,
Robert Hood,
Donald Byrd,
Bauhaus,
Donny Hathaway,
The Velvet Underground,
Gary Puckett & The Union Gap,
Simply Red,
Cluster,
Magma,
Hasil Adkins,
Big Daddy Kane,
The Searchers,
The Move,
Soulsonic Force,
Gian Franco Pienzio,
Leonard Cohen,
The Alarm Clocks,
Michelle Simonal,
Grandmaster Flash,
Lou Reed & Metallica,
Country Joe & The Fish,
Gang Starr,
Eve St. Jones,
June Days,
Robert Wyatt,
Avey Tare's Slasher Flicks,
Bluetip,
Rakim,
Kas Product,
Ronan,
Tim Buckley,
Gastr Del Sol,
Ronnie Foster,
Eli Mardock,
Flash Fearless,
The Techniques,
David McCallum,
Nik Kershaw,
Ludus,
Kevin Saunderson,
Youth Brigade,
Alton Ellis,
Visionaries,LMNO, T- Love & Iriscience,
Aural Exciters,
Liaisons Dangereuses,
Carl Craig,
Andrew Ashong & Theo Parrish,
the Slits,
Bobbi Humphrey,
Hashim,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.