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 Mauritania and from Cairo.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Edmonton and London.
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 1983 at the first Art of Noise practice in a loft in London.
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 The Index to the electroclash 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 Wake. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Saccharine Trust 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Sun City Girls,
the Bar-Kays,
Glambeats Corp.,
Pole,
Bootsy's Rubber Band,
Archie Shepp,
Michelle Simonal,
Sound Behaviour,
Skriet,
The Index,
Cymande,
Jeru the Damaja,
Bill Wells,
Masters at Work,
David Axelrod,
Oppenheimer Analysis,
Don Cherry,
JFA,
E-Dancer,
Sonny Sharrock,
The Fuzztones,
Supertramp,
L. Decosne,
Gong,
Magazine,
Negative Approach,
The Leaves,
Funkadelic,
The Misunderstood,
Carl Craig,
Stereo Dub,
Barclay James Harvest,
The Martian,
Gichy Dan,
The Skatalites,
Lou Christie,
Boogie Down Productions,
Stetsasonic,
Wire,
In Retrospect,
The Remains,
Liaisons Dangereuses,
Vainqueur,
James Chance & The Contortions,
The Gladiators,
Ohio Players,
Nirvana,
Aloha Tigers,
Mary Jane Girls,
Radiopuhelimet,
Girls At Our Best!,
OOIOO,
Roy Ayers Ubiquity,
the Association,
EPMD,
Rekid,
Jeff Mills,
Accadde A,
Joey Negro,
Lee Hazlewood,
The Shadows of Knight,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.