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 Thailand 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 1968 to 1975.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Bologna 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 organ sounds with much patience.
I was there when David Bowie 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 The Monochrome Set to the jazz 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 Lou Reed & Metallica. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal grunge 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 a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Cecil Taylor,
Soft Cell,
Tomorrow,
Niagra,
Anakelly,
Mo-Dettes,
Davy DMX,
The Doors,
D'Angelo,
Yusef Lateef,
The Sisters of Mercy,
Oppenheimer Analysis,
Jacob Miller,
Dual Sessions,
Supertramp,
Minor Threat,
Ituana,
The Happenings,
Todd Rundgren,
Hoover,
Pylon,
The Beau Brummels,
Banda Bassotti,
Von Mondo,
The Red Krayola,
Patti Smith,
DNA,
Bang on a Can All-Stars,
Icehouse,
8 Eyed Spy,
The New Christs,
Eric B and Rakim,
Jacques Brel,
Delon & Dalcan,
Pierre Henry,
Kayak,
Tropical Tobacco,
Q and Not U,
New Order,
Darondo,
Mark Hollis,
Man Eating Sloth,
The Litter,
Faraquet,
Magma,
Theoretical Girls,
The Leaves,
Anthony Braxton,
the Fania All-Stars,
Lyres,
The Standells,
the Normal,
Gerry Rafferty,
Archie Shepp,
Pharoah Sanders,
Crash Course in Science,
Country Joe & The Fish,
Angry Samoans,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.