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 Macedonia and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 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 Notorious Big And Bone Thugs to the funk 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 Harpers Bizarre. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Make Up,
Deakin,
Ronan,
Parry Music,
Oneida,
Lalann,
Radio Birdman,
Eddi Front,
A Flock of Seagulls,
Severed Heads,
Siglo XX,
Ronnie Foster,
Donny Hathaway,
The Martian,
Grandmaster Flash and the Furious Five,
MC5,
Black Pus,
Vladislav Delay,
Eurythmics,
Sällskapet,
Jawbox,
The Seeds,
The Litter,
Max Romeo,
CMW,
Model 500,
Jesper Dahlback,
Johnny Clarke,
Bush Tetras,
Cymande,
Nirvana,
48th St. Collective,
Nick Fraelich,
Iggy Pop,
Heaven 17,
Country Joe & The Fish,
Ken Boothe,
Kenny Larkin,
Erykah Badu,
Red Lorry Yellow Lorry,
Skriet,
Khruangbin,
Wasted Youth,
Harpers Bizarre,
Marine Girls,
the Bar-Kays,
The Jesus and Mary Chain,
Richard Hell and the Voidoids,
Grauzone,
Kool G Rap & DJ Polo,
Zero Boys,
The Five Americans,
Underground Resistance,
Peter and Kerry,
Buzzcocks,
Kauko Röyhkä ja Narttu,
The Raincoats,
Dawn Penn,
Bill Wells,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.