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 Bulgaria and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Marshall Jefferson to the crunk 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 Minutemen tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Matthew Bourne,
Pulsallama,
The Music Machine,
Jacques Brel,
Wire,
Massinfluence,
Malaria!,
New Order,
Black Flag,
Swell Maps,
The Jesus and Mary Chain,
Sparks,
Urselle,
Yusef Lateef,
Dual Sessions,
Big Daddy Kane,
Joensuu 1685,
Barbara Tucker,
AZ,
Country Teasers,
Eric Dolphy,
the Germs,
Deakin,
Anakelly,
The Saints,
The Chocolate Watch Band,
Danielle Patucci,
Flamin' Groovies,
Howard Jones,
Moby Grape,
Lee Hazlewood,
Tommy Roe,
Camberwell Now,
Joe Finger,
These Immortal Souls,
The Dead C,
Sexual Harrassment,
June Days,
The Invisible,
Monolake,
The Black Dice,
Skaos,
Grandmaster Flash and the Furious Five,
Jimmy McGriff,
Charles Mingus,
Agitation Free,
X-102,
Mary Jane Girls,
Los Fastidios,
Barry Ungar,
Supertramp,
Interpol,
Loose Ends,
PIL,
Funkadelic,
The Litter,
Yazoo,
Lonnie Liston Smith,
Lou Christie,
Sex Pistols,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.