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 Thailand and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Delhi and Beijing.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Kings Of Tomorrow to the jazz kids.
I played it at the Crocodile.
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 Jerry's Kids. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Model 500,
Thee Headcoats,
Sällskapet,
Don Cherry,
Fort Wilson Riot,
Chrome,
T.S.O.L.,
Deakin,
Talk Talk,
The Neon Judgement,
Junior Murvin,
Soul Sonic Force,
Sexual Harrassment,
Television,
Boogie Down Productions,
Crash Course in Science,
Skaos,
Patti Smith,
Black Flag,
Kerri Chandler,
The Smoke,
Mars,
The Moleskins,
Harmonia,
Jerry's Kids,
Rapeman,
Terry Callier,
Traffic Nightmare,
Danielle Patucci,
The Toasters,
EPMD,
The Mummies,
Excepter,
Youth Brigade,
kango's stein massive,
These Immortal Souls,
Nils Olav,
The Evens,
The Gories,
The Busters,
Intrusion,
Joensuu 1685,
Section 25,
T. Rex,
Peter & Gordon,
John Cale,
Monolake,
The Gap Band,
Ornette Coleman,
Scion,
Amazonics,
Aaron Thompson,
Kango’s Stein Massive,
Amon Düül II,
Susan Cadogan,
Art Ensemble Of Chicago,
Spandau Ballet,
the Bar-Kays,
Stockholm Monsters,
Country Joe & The Fish,
Public Enemy,
Pagans,
Magma, Magma, Magma, Magma.
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.