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 Uzbekistan and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Spokane 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 linndrum 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 Little Man to the jazz kids.
I played it at Cafe Wha.
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 The Cowsills. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus 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?
Cecil Taylor,
The Detroit Cobras,
The Dead C,
Junior Murvin,
Soul Sonic Force,
Delon & Dalcan,
Au Pairs,
Dark Day,
Richard Hell and the Voidoids,
Matthew Halsall,
10cc,
Parry Music,
Depeche Mode,
The Associates,
Rekid,
Sister Nancy,
Index,
Interpol,
the Germs,
Roger Hodgson,
Dennis Brown,
Cybotron,
Wolf Eyes,
Kenny Larkin,
Angry Samoans,
cv313,
Al Stewart,
Blancmange,
The Young Rascals,
Eric B and Rakim,
The Sisters of Mercy,
Lonnie Liston Smith,
Johnny Osbourne,
Slave,
Crime,
Youth Brigade,
Lyres,
Carl Craig,
Dead Boys,
The Standells,
John Coltrane,
Selector Dub Narcotic,
Hashim,
the Soft Cell,
Oppenheimer Analysis,
Smog,
The Fuzztones,
The Cosmic Jokers,
Newcleus,
Von Mondo,
The Red Krayola,
Black Flag,
Lou Christie,
Connie Case,
Liaisons Dangereuses,
Pet Shop Boys,
Morten Harket,
Wally Richardson,
The Zeros,
Camouflage,
Urselle,
Ronan, Ronan, Ronan, Ronan.
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.