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 Cuba and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Lagos 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Kerrie Biddell to the dance kids.
I played it at Trash.
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 Sam Rivers. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
the Slits,
Richard Hell and the Voidoids,
the Soft Cell,
These Immortal Souls,
T. Rex,
Kool Moe Dee,
James White and The Blacks,
Loose Ends,
Vladislav Delay,
Avey Tare's Slasher Flicks,
Q65,
Davy DMX,
Tears for Fears,
Talk Talk,
Laurel Aitken,
D'Angelo,
Eyeless In Gaza,
The Monks,
Tomorrow,
Ultra Naté,
The Grass Roots,
Icehouse,
Kenny Larkin,
Altered Images,
Drive Like Jehu,
Wire,
Gary Puckett & The Union Gap,
Sun Ra Arkestra,
Roxette,
UT,
London Community Gospel Choir,
Buzzcocks,
Public Enemy,
Pagans,
Funkadelic,
Erykah Badu,
Joensuu 1685,
The Walker Brothers,
Fugazi,
Liliput,
The United States of America,
Traffic Nightmare,
Alton Ellis,
Barbara Tucker,
Hashim,
Ajijia Myrayebe,
Charles Mingus,
The Toasters,
The Remains,
Eden Ahbez,
Susan Cadogan,
Ash Ra Tempel,
Gil Scott-Heron and Jamie xx,
Excepter,
Nick Fraelich,
Black Moon,
Interpol,
The Gun Club,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail, Ponytail, Ponytail, Ponytail.
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.