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 Suriname and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Milan 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 Michael McDonald 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 China Crisis to the punk kids.
I played it at the Hacienda.
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 Slave. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Bad Manners,
Loose Ends,
Matthew Bourne,
Avey Tare,
Zapp,
T.S.O.L.,
Siouxsie and the Banshees,
Prince Buster,
DJ Sneak,
Visage,
Dorothy Ashby,
La Düsseldorf,
Severed Heads,
The Cowsills,
The Blues Magoos,
Pantytec,
DNA,
Be Bop Deluxe,
Cheater Slicks,
Radiopuhelimet,
Joy Division,
This Heat,
Sarah Menescal,
Nick Cave & The Bad Seeds,
Oblivians,
Glenn Branca,
Accadde A,
Man Eating Sloth,
Model 500,
the Soft Cell,
Moss Icon,
Nation of Ulysses,
B.T. Express,
Gregory Isaacs,
Con Funk Shun,
Delon & Dalcan,
Sound Behaviour,
Curtis Mayfield,
Gil Scott-Heron & Brian Jackson,
Thee Headcoats,
Vaughan Mason & Crew,
Rhythm & Sound,
Country Teasers,
The Index,
Ken Boothe,
Q and Not U,
The Flesh Eaters,
Kurtis Blow,
Camron Feat. Jay Z And Juelz,
Spandau Ballet,
Soul II Soul,
Kayak,
Grey Daturas,
Freddie Wadling,
The Monochrome Set,
Little Man,
Archie Shepp,
The Cure,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.