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 Afghanistan and from London.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Columbus 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 güiro sounds with much patience.
I was there when Lou Reed 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 Red Krayola to the grime kids.
I played it at the Roxy.
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 The Velvet Underground. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Gil Scott Heron,
Index,
Big Daddy Kane,
Oneida,
Pylon,
Wighnomy Brothers & Robag Wruhme,
Bill Near,
The Remains,
The Slackers,
Heaven 17,
Charles Mingus,
Warsaw,
Hashim,
The Peanut Butter Conspiracy,
Dorothy Ashby,
Jesper Dahlback,
Parry Music,
Hasil Adkins,
Kevin Saunderson,
Wally Richardson,
Brothers Johnson,
Cheater Slicks,
Das Ding,
Accadde A,
Sarah Menescal,
Yellowson,
Fat Boys,
Silicon Teens,
Soul II Soul,
a-ha,
Anthony Braxton,
Black Pus,
Stetsasonic,
Bobby Sherman,
The Shadows of Knight,
cv313,
Deutsch Amerikanische Freundschaft,
Alison Limerick,
The Gories,
Angels of Light & Akron/Family,
The Blackbyrds,
Monolake,
Public Enemy,
Faraquet,
Vladislav Delay,
Radiohead,
Röyhkä ja Rättö ja Lehtisalo,
Scrapy,
Average White Band,
Severed Heads,
Inner City,
Lou Reed & John Cale,
John Lydon,
Ponytail,
Funkadelic,
Radiopuhelimet,
Roxy Music,
Lafayette Afro Rock Band,
Judy Mowatt,
Amon Düül,
the Fania All-Stars,
The Fugs,
Alphaville, Alphaville, Alphaville, Alphaville.
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.