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 Gambia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Lille 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 Nile Rodgers 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 Nico 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 Shoche. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Red Lorry Yellow Lorry,
The Fall,
Q and Not U,
Electric Light Orchestra,
Fort Wilson Riot,
Suicide,
Notorious Big And Bone Thugs,
Camberwell Now,
Black Sheep,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Absolute Body Control,
Au Pairs,
Prince Buster,
Boredoms,
Freddie Wadling,
Max Romeo,
Siouxsie and the Banshees,
Soul Sonic Force,
Sam Rivers,
Kenny Larkin,
The Residents,
Maleditus Sound,
The Stooges,
Ronnie Foster,
The Five Americans,
Banda Bassotti,
The Doors,
Brass Construction,
Inner City,
Roxy Music,
Pet Shop Boys,
Goldenarms,
Art Ensemble Of Chicago,
Visage,
Mantronix,
Pharaoh Sanders and the Fire Engines,
Bush Tetras,
Scott Walker,
EPMD,
Sällskapet,
Massinfluence,
The Shadows of Knight,
The Skatalites,
Notorious BIG live in Amsterdam,
Lakeside,
Half Japanese,
Vainqueur,
The West Coast Pop Art Experimental Band,
Young Marble Giants,
Scion,
Deutsch Amerikanische Freundschaft,
Sugar Minott,
Leonard Cohen,
Aswad,
Darondo,
Flamin' Groovies,
The J.B.'s,
Susan Cadogan,
Quantec,
Quadrant, Quadrant, Quadrant, Quadrant.
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.