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 Micronesia and from Mexico City.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Bad Manners to the jazz 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 the Human League. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every the Germs 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Bill Near,
the Soft Cell,
cv313,
Toni Rubio,
The Fortunes,
Avey Tare & Kría Brekkan,
Danielle Patucci,
The Gladiators,
Wighnomy Brothers & Robag Wruhme,
Urselle,
The Music Machine,
Yaz,
Thinking Fellers Union Local 282,
Gil Scott-Heron and Jamie xx,
Byron Stingily,
The Birthday Party,
Q and Not U,
Kerrie Biddell,
Radiohead,
The Last Poets,
Oneida,
Patti Smith,
Aural Exciters,
Pole,
Eyeless In Gaza,
The Evens,
Deakin,
Ultramagnetic MC's,
Public Image Ltd.,
Eurythmics,
Khruangbin,
X-101,
T. Rex,
DeepChord presents Echospace,
Rufus Thomas,
The Chocolate Watch Band,
Lee Hazlewood,
Cybotron,
The Gories,
Crime,
Pantaleimon,
Röyhkä ja Rättö ja Lehtisalo,
Yellowson,
Ten City,
Dawn Penn,
The Beau Brummels,
Soulsonic Force,
Second Layer,
The Human League,
Red Lorry Yellow Lorry,
These Immortal Souls,
Eden Ahbez,
Jeru the Damaja,
Outsiders,
The Slits,
Slave,
the Human League,
Pere Ubu,
Avey Tare's Slasher Flicks,
The Invisible,
Ultimate Spinach,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.