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 Somalia and from Glasgow.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Tehran.
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 guitar 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 Crime to the jazz kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Boredoms,
Excepter,
The Index,
E-Dancer,
T. Rex,
Idris Muhammad,
The Standells,
Shoche,
Severed Heads,
Bill Wells,
The Happenings,
The Sisters of Mercy,
Agitation Free,
The Associates,
Ultra Naté,
The Cure,
Liliput,
Monolake,
Peter & Gordon,
Art Ensemble Of Chicago,
A Certain Ratio,
Oblivians,
Tom Boy,
Talk Talk,
Gastr Del Sol,
Jacob Miller,
The Golliwogs,
The Searchers,
Gregory Isaacs,
Graham Central Station,
the Germs,
R.M.O.,
Scion,
The Moleskins,
Brick,
Dead Boys,
The Human League,
Ronan,
Nico,
cv313,
Grandmaster Flash,
Ice-T,
Barclay James Harvest,
Country Teasers,
Selector Dub Narcotic,
The Toasters,
Pagans,
Lee Hazlewood,
Fela Kuti,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dark Day,
Scrapy,
Bronski Beat,
Yaz,
Anakelly,
The Skatalites,
Toni Rubio,
Absolute Body Control,
Mission of Burma,
Tommy Roe,
Dorothy Ashby,
The Vogues, The Vogues, The Vogues, The Vogues.
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.