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 Macedonia and from Madrid.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Columbus.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Althea and Donna to the grime 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 Max Romeo. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Agitation Free,
Urselle,
The Victims,
The Fire Engines,
X-101,
Radio Birdman,
Hoover,
The Chocolate Watch Band,
Marc Romboy vs. Booka Shade,
Lightning Bolt,
Rekid,
Bauhaus,
Unwound,
Crash Course in Science,
Pierre Henry,
Oblivians,
Reagan Youth,
Jeru the Damaja,
The Men They Couldn't Hang,
Soul II Soul,
Nick Cave & The Bad Seeds,
Flash Fearless,
Drive Like Jehu,
Josef K,
Brick,
Deakin,
Tropical Tobacco,
The J.B.'s,
Joey Negro,
Sex Pistols,
A Certain Ratio,
The Music Machine,
Deutsch Amerikanische Freundschaft,
Electric Prunes,
The Dave Clark Five,
Sparks,
Johnny Clarke,
Andrew Hill,
Eve St. Jones,
Terrestrial Tones,
Gastr Del Sol,
Wire,
Mo-Dettes,
Interpol,
Kenny Larkin,
The Offenders,
The Selecter,
The Gories,
Bob Dylan,
Drexciya,
Boredoms,
The Slits,
Organ,
Marine Girls,
The Angels of Light,
Hashim,
The Durutti Column,
Surgeon,
Chris Corsano,
Davy DMX,
Bill Wells,
Boz Scaggs,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.