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 Turkey and from Spokane.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Accra.
I'm losing my edge to the art-school Stockholm 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 Art of Noise practice in a loft in London.
I was working on the linndrum 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 Neil Young & Crazy Horse to the crunk 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 Shadows of Knight. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Echo & the Bunnymen,
Ken Boothe,
Bang On A Can,
Gabor Szabo,
Byron Stingily,
Crime,
The Motions,
Stetsasonic,
Avey Tare's Slasher Flicks,
Henry Cow,
The Stooges,
Fort Wilson Riot,
Dawn Penn,
Godley & Creme,
Davy DMX,
Frankie Knuckles,
Aaron Thompson,
Liliput,
Amon Düül,
Bootsy Collins,
The Neon Judgement,
The Golliwogs,
Agitation Free,
Captain Beefheart & His Magic Band,
EPMD,
Hoover,
Connie Case,
It's A Beautiful Day,
Sun Ra Arkestra,
Bronski Beat,
Notorious Big And Bone Thugs,
B.T. Express,
The Dead C,
Theoretical Girls,
the Germs,
The United States of America,
The J.B.'s,
Amon Düül II,
Susan Cadogan,
Roy Ayers Ubiquity,
New York Dolls,
Josef K,
KRS-One,
Pantaleimon,
Siglo XX,
Hashim,
The Moleskins,
Boredoms,
The Doobie Brothers,
Sandy B,
Eric Dolphy,
The Kinks,
Ash Ra Tempel,
The Residents,
Fela Kuti,
Radiopuhelimet,
The Evens,
Chris & Cosey,
Scott Walker,
Television Personalities,
Alison Limerick,
The Zeros, The Zeros, The Zeros, The Zeros.
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.