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 Yemen and from Calgary.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Delhi 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 guitar sounds with much patience.
I was there when David Bowie 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 Germs 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 Traffic Nightmare. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Louis and Bebe Barron,
Lebanon Hanover,
the Soft Cell,
The Music Machine,
Shuggie Otis,
London Community Gospel Choir,
Archie Shepp,
Piero Umiliani,
Brass Construction,
Duran Duran,
The Slits,
The Shadows of Knight,
The Doors,
Vaughan Mason & Crew,
The Human League,
Marmalade,
Ossler,
Wire,
Warren Ellis,
John Holt,
Rhythm & Sound,
Wasted Youth,
Lalo Schifrin,
Grey Daturas,
H. Thieme,
Bobby Byrd,
Ludus,
Andrew Ashong & Theo Parrish,
Camouflage,
Marshall Jefferson,
Aaron Thompson,
The Peanut Butter Conspiracy,
The Names,
Danielle Patucci,
Animal Collective,
Deepchord,
Oppenheimer Analysis,
Prince Buster,
Colin Newman,
Kenny Larkin,
Dennis Brown,
Groovy Waters,
Intrusion,
The Misunderstood,
Fifty Foot Hose,
Essential Logic,
Public Image Ltd.,
Sarah Menescal,
Jawbox,
Tim Buckley,
Yaz,
The Count Five,
The Blackbyrds,
The Evens,
ABC,
Lonnie Liston Smith,
La Düsseldorf,
Eric Copeland,
OOIOO,
Röyhkä ja Rättö ja Lehtisalo,
Sunsets and Hearts,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.