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 Serbia and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 The Velvet Underground to the rap 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 Gian Franco Pienzio. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Spoonie Gee 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
The Gladiators,
The Techniques,
X-Ray Spex,
The Moleskins,
Boogie Down Productions,
Zapp,
Reuben Wilson,
Althea and Donna,
The Grass Roots,
Royal Trux,
The Men They Couldn't Hang,
Television Personalities,
Accadde A,
The Human League,
The Tremeloes,
Cybotron,
Severed Heads,
LL Cool J,
The Last Poets,
Thompson Twins,
Dead Boys,
Slave,
Yusef Lateef,
The Neon Judgement,
Mo-Dettes,
Nation of Ulysses,
Shoche,
Amazonics,
The Associates,
Girls At Our Best!,
The Electric Prunes,
Thee Headcoats,
Boz Scaggs,
Bang on a Can All-Stars,
Electric Prunes,
Brick,
Cecil Taylor,
Frankie Knuckles,
Fort Wilson Riot,
Jesper Dahlbäck,
The Slackers,
Kool Moe Dee,
Rowland S Howard / Lydia Lunch,
The Toasters,
Carl Craig,
Grandmaster Flash,
Kaleidoscope,
Avey Tare's Slasher Flicks,
The Smoke,
Hasil Adkins,
Boredoms,
Fela Kuti,
Magma,
Radiohead,
Hoover,
Harpers Bizarre,
Gary Puckett & The Union Gap,
David McCallum,
The Cure,
the Germs,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.