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 Equatorial Guinea and from Mumbai.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Grauzone to the jazz 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 E-Dancer. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
the Swans,
Marshall Jefferson,
Accadde A,
Carl Craig,
John Coltrane,
Cabaret Voltaire,
Rhythim Is Rhythim,
Simply Red,
Metal Thangz,
Oppenheimer Analysis,
The Royal Family And The Poor,
Bad Manners,
Sun City Girls,
Alison Limerick,
The Doors,
The Knickerbockers,
New Order,
The Beau Brummels,
Notorious Big And Bone Thugs,
The Last Poets,
Darondo,
Marc Romboy vs. Booka Shade,
Skaos,
Mission of Burma,
Rahsaan Roland Kirk,
John Cale,
Blake Baxter,
T.S.O.L.,
Electric Light Orchestra,
The Smoke,
Stetsasonic,
Half Japanese,
The Searchers,
Boz Scaggs,
The Selecter,
Roxy Music,
The Motions,
The Toasters,
Vainqueur,
the Slits,
Mandrill,
Silicon Teens,
The Angels of Light,
ABC,
A Flock of Seagulls,
Kevin Saunderson,
Stockholm Monsters,
Gang of Four,
Aural Exciters,
The Gories,
Yellowson,
The Men They Couldn't Hang,
Lungfish,
Q and Not U,
Royal Trux,
The Gladiators,
Dorothy Ashby,
The Pop Group,
MC5,
Radiopuhelimet,
The Litter, The Litter, The Litter, The Litter.
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.