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 Paraguay and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Houston 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 snare 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 Siglo XX to the dance kids.
I played it at the Troubador.
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 Eric Dolphy. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Lebanon Hanover 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Black Sheep,
Gang Starr,
Drexciya,
David Bowie,
Cecil Taylor,
Alison Limerick,
Bootsy Collins,
The Mummies,
Warren Ellis,
Siouxsie and the Banshees,
Eli Mardock,
Gastr Del Sol,
Cal Tjader,
Joe Smooth,
Hardrive,
Roxette,
Isaac Hayes,
Underground Resistance,
Soul Sonic Force,
ABC,
Glambeats Corp.,
Neil Young & Crazy Horse,
Urselle,
Girls At Our Best!,
James Chance & The Contortions,
Dr. Dre and Snoop Doggy Dog,
John Coltrane,
Mission of Burma,
Wally Richardson,
Ponytail,
Stereo Dub,
A Flock of Seagulls,
The Remains,
Joey Negro,
Fort Wilson Riot,
F. McDonald,
The Gun Club,
Ultra Naté,
Nas,
Von Mondo,
Absolute Body Control,
The Cure,
Masters at Work,
The West Coast Pop Art Experimental Band,
Be Bop Deluxe,
Thompson Twins,
Tom Boy,
Gil Scott Heron,
Royal Trux,
Motorama,
The Smoke,
The Selecter,
Trumans Water,
Crooked Eye,
Faust,
The Last Poets,
The Sound,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.