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 Jamaica and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1967 to 1972.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Clear Light to the crunk kids.
I played it at the Astoria.
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 Archie Shepp. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal disco 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
the Soft Cell,
Subhumans,
The Dirtbombs,
Yazoo,
New Order,
The Martian,
Sound Behaviour,
Deepchord,
Livin' Joy,
the Slits,
June Days,
Hoover,
Teenage Jesus and the Jerks,
Joensuu 1685,
Alison Limerick,
Lee Hazlewood,
Section 25,
Pussy Galore,
David Bowie,
Amazonics,
X-Ray Spex,
Crispy Ambulance,
Johnny Osbourne,
Roy Ayers Ubiquity,
New Age Steppers,
Eurythmics,
Delta 5,
The Last Poets,
Pharaoh Sanders and the Fire Engines,
The Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Severed Heads,
Dark Day,
A Flock of Seagulls,
Hardrive,
Bluetip,
Nas,
Marmalade,
Kings Of Tomorrow,
The United States of America,
Average White Band,
Cecil Taylor,
Bronski Beat,
Sex Pistols,
Barrington Levy,
Brand Nubian,
Y Pants,
Outsiders,
Rosa Yemen,
Man Eating Sloth,
London Community Gospel Choir,
Minutemen,
Bob Dylan,
Pete Rock & C.L. Smooth,
Rhythm & Sound,
CMW,
Vladislav Delay,
Bootsy's Rubber Band,
DJ Style,
Ajijia Myrayebe,
Infiniti, Infiniti, Infiniti, Infiniti.
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.