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 Swaziland and from Copenhagen.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Toronto 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Golliwogs to the grime 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 James Chance & The Contortions. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
These Immortal Souls,
Y Pants,
Adolescents,
June Days,
MDC,
Bobby Womack,
Eric Copeland,
Glenn Branca,
Lou Reed & John Cale,
Angry Samoans,
Sällskapet,
The Detroit Cobras,
N.O.R.E. Featuring Pharrell,
Crash Course in Science,
Swans,
The Remains,
The Mighty Diamonds,
Urselle,
Intrusion,
Tom Boy,
Parry Music,
Davy DMX,
Brick,
Mark Hollis,
Chris Corsano,
The United States of America,
Kings Of Tomorrow,
The Associates,
The Slackers,
Rosa Yemen,
Gil Scott-Heron and Jamie xx,
Q and Not U,
Warren Ellis,
Ajijia Myrayebe,
Marvin Gaye,
The Vogues,
Jacques Brel,
Roger Hodgson,
Suicide,
Ultramagnetic MC's,
The Electric Prunes,
John Foxx,
Sun Ra,
DJ Sneak,
Index,
The Dead C,
Boz Scaggs,
Big Daddy Kane,
Notorious Big And Bone Thugs,
Deutsch Amerikanische Freundschaft,
The Walker Brothers,
The Smoke,
Pere Ubu,
Lafayette Afro Rock Band,
Susan Cadogan,
Jesper Dahlback,
The Raincoats,
the Human League,
Henry Cow,
Gregory Isaacs,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.