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 Benin and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Beijing 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 Michael McDonald 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 Skarface to the grime 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 Frankie Knuckles. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Theoretical Girls,
The New Christs,
The Mummies,
Roxette,
Alton Ellis,
Joy Division,
Country Joe & The Fish,
Panda Bear,
Black Pus,
Oneida,
The Skatalites,
Toni Rubio,
Anakelly,
Bad Manners,
Jawbox,
Absolute Body Control,
The Associates,
Throbbing Gristle,
Rakim,
The Divine Comedy,
The Selecter,
Eve St. Jones,
Gary Puckett & The Union Gap,
Royal Trux,
The Pretty Things,
Section 25,
the Bar-Kays,
This Heat,
Neu!,
Thee Headcoats,
The Index,
The Barracudas,
The Angels of Light,
John Cale,
Carl Craig,
Zero Boys,
Althea and Donna,
Kauko Röyhkä ja Narttu,
The Doobie Brothers,
CMW,
Ronnie Foster,
Eyeless In Gaza,
Jeff Lynne,
David Axelrod,
Angry Samoans,
Cymande,
Sound Behaviour,
Drive Like Jehu,
Kool G Rap & DJ Polo,
Faust,
Stiv Bators,
Mantronix,
Lucky Dragons,
Scratch Acid,
Black Bananas,
Gang Gang Dance,
Bush Tetras,
Von Mondo,
Guru Guru,
Jacob Miller,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.