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 Turkmenistan and from New York.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Bologna 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 güiro 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 Juan Atkins to the grime 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 Gang of Four. All the underground hits.
All Lalann 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Vaughan Mason & Crew,
The Tremeloes,
Godley & Creme,
Barry Ungar,
Flamin' Groovies,
Marine Girls,
Cameo,
Nick Fraelich,
Kauko Röyhkä ja Narttu,
Eurythmics,
Ornette Coleman,
Prince Buster,
Boredoms,
Bluetip,
Jimmy McGriff,
Pierre Henry,
Camberwell Now,
The Last Poets,
X-102,
Erykah Badu,
Unrelated Segments,
Dr. Dre and Snoop Doggy Dog,
Sam Rivers,
48th St. Collective,
The Index,
Q and Not U,
Sister Nancy,
Skarface,
Cal Tjader,
Dead Boys,
the Soft Cell,
Barclay James Harvest,
Roxy Music,
UT,
kango's stein massive,
Stockholm Monsters,
Soft Machine,
James White and The Blacks,
Bootsy Collins,
Kerrie Biddell,
Graham Central Station,
Babytalk,
The Standells,
T. Rex,
Dorothy Ashby,
The Happenings,
June of 44,
The Busters,
Icehouse,
The Sound,
The Fuzztones,
Agent Orange,
Nas,
Rotary Connection,
DJ Style,
The Invisible,
Ralphi Rosario,
Spoonie Gee,
Sexual Harrassment,
Tom Boy,
Joe Finger,
Masters at Work,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.