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 Australia and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Manchester 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 Selector Dub Narcotic 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 Siouxsie and the Banshees. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Goldenarms,
Sonny Sharrock,
The Grass Roots,
Outsiders,
Liliput,
LL Cool J,
Marvin Gaye,
Yellowson,
Masters at Work,
Gong,
Funky Four + One,
Fat Boys,
the Bar-Kays,
Siouxsie and the Banshees,
New Order,
Man Parrish,
Y Pants,
The Index,
Joe Finger,
Zero Boys,
Interpol,
The American Breed,
Marc Romboy vs. Booka Shade,
Matthew Halsall,
Audionom,
Public Enemy,
The Mojo Men,
Bang On A Can,
Cal Tjader,
Strawberry Alarm Clock,
The Neon Judgement,
Susan Cadogan,
Erasure,
ABBA,
The Modern Lovers,
Duran Duran,
The Music Machine,
Terrestrial Tones,
La Düsseldorf,
Dorothy Ashby,
Soft Machine,
Guru Guru,
Bizarre Inc.,
UT,
10cc,
48th St. Collective,
Gichy Dan,
Ultra Naté,
Scan 7,
Todd Rundgren,
Heavy D & The Boyz,
The J.B.'s,
Howard Jones,
The Toasters,
Rites of Spring,
Yusef Lateef,
Kaleidoscope,
Roxy Music,
Ornette Coleman,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.