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 Mali and from Mumbai.
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 1969 to 1977.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Edmonton 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 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 Invisible to the dance kids.
I played it at Trash.
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 Sonic Youth. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Barry Ungar 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon 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?
Bang On A Can,
Sun Ra,
Main Source,
EPMD,
Gang Green,
Max Romeo,
The Velvet Underground,
Public Enemy,
Silicon Teens,
Sällskapet,
Kerri Chandler,
The Names,
Minutemen,
UT,
Strawberry Alarm Clock,
Moss Icon,
The Dead C,
A Flock of Seagulls,
Nation of Ulysses,
Lizzy Mercier Descloux,
Buzzcocks,
The Peanut Butter Conspiracy,
Subhumans,
Hardrive,
the Soft Cell,
Visage,
The Fugs,
In Retrospect,
Marine Girls,
The Royal Family And The Poor,
The Walker Brothers,
Deadbeat,
Bobby Womack,
Stetsasonic,
Jesper Dahlbäck,
Maurizio,
Essential Logic,
Henry Cow,
Erasure,
Soul II Soul,
Index,
The Fortunes,
Cabaret Voltaire,
Heavy D & The Boyz,
The Modern Lovers,
Pharaoh Sanders and the Fire Engines,
Susan Cadogan,
the Germs,
The Blackbyrds,
The Young Rascals,
The Gap Band,
Circle Jerks,
Big Daddy Kane,
Kayak,
Malaria!,
The Last Poets,
K-Klass,
Man Eating Sloth,
Lungfish,
Beasts of Bourbon,
Sexual Harrassment,
Interpol, Interpol, Interpol, Interpol.
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.