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 Suriname and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Spokane 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba 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 Dave Clark Five to the disco 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 Lalo Schifrin. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Barry Ungar,
Kool G Rap & DJ Polo,
Vaughan Mason & Crew,
The Mighty Diamonds,
Idris Muhammad,
The West Coast Pop Art Experimental Band,
X-101,
The Associates,
World's Most,
The Doors,
Q and Not U,
Country Teasers,
Erasure,
Bootsy's Rubber Band,
Blake Baxter,
Khruangbin,
Traffic Nightmare,
Underground Resistance,
Brass Construction,
Rakim,
Grandmaster Flash,
Susan Cadogan,
Bobby Womack,
Warren Ellis,
Andrew Hill,
Danielle Patucci,
The Seeds,
Dr. Dre and Snoop Doggy Dog,
H. Thieme,
Oppenheimer Analysis,
Blancmange,
Rites of Spring,
Roy Ayers,
A Certain Ratio,
The Flesh Eaters,
The Gun Club,
Strawberry Alarm Clock,
Accadde A,
Q65,
Minny Pops,
Silicon Teens,
The Tremeloes,
Thinking Fellers Union Local 282,
The Move,
Eurythmics,
The Zeros,
Second Layer,
Bang On A Can,
The Searchers,
London Community Gospel Choir,
Slave,
Deakin,
Scan 7,
The Cosmic Jokers,
Notorious Big And Bone Thugs,
Sex Pistols,
AZ,
One Last Wish,
Tubeway Army,
KRS-One,
Deadbeat,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.