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 Iran and from Seoul.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 Seoul and New York.
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 snare 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 Peter & Gordon to the funk kids.
I played it at Trash.
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 Lonnie Liston Smith. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Nils Olav,
The Grass Roots,
Shuggie Otis,
Negative Approach,
Albert Ayler,
Nick Cave & The Bad Seeds,
Oppenheimer Analysis,
Subhumans,
Scratch Acid,
Rhythim Is Rhythim,
Bang On A Can,
Jandek,
Soft Machine,
Fugazi,
The Associates,
Masters at Work,
Matthew Bourne,
Andrew Ashong & Theo Parrish,
Reagan Youth,
The Raincoats,
Boogie Down Productions,
Cheater Slicks,
The Remains,
Angry Samoans,
The Durutti Column,
Mantronix,
Aswad,
Quadrant,
Radio Birdman,
48th St. Collective,
Johnny Osbourne,
The Fortunes,
the Fania All-Stars,
Todd Terry,
Rhythm & Sound,
Sister Nancy,
Lakeside,
Girls At Our Best!,
Donny Hathaway,
The Dead C,
Marc Almond,
Byron Stingily,
Pantytec,
Sparks,
The Pretty Things,
Tears for Fears,
Marmalade,
Nick Fraelich,
Guru Guru,
The Martian,
London Community Gospel Choir,
Electric Light Orchestra,
Fear,
A Flock of Seagulls,
Black Bananas,
Freddie Wadling,
Glenn Branca,
Peter and Kerry,
T. Rex,
Max Romeo,
Eden Ahbez,
Boredoms, Boredoms, Boredoms, Boredoms.
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.