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 Ethiopia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when Michael McDonald 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 Eddi Front to the electroclash 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 Absolute Body Control. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal dance 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Moss Icon,
Ash Ra Tempel,
Camberwell Now,
Section 25,
Slave,
The Monks,
Nils Olav,
Alison Limerick,
Los Fastidios,
The Neon Judgement,
Kerrie Biddell,
The Jesus and Mary Chain,
Flamin' Groovies,
Maleditus Sound,
Vladislav Delay,
Minnie Riperton,
Deadbeat,
Harry Pussy,
Super Lover Cee & Casanova Rud,
Eric Copeland,
kango's stein massive,
The Fortunes,
The Five Americans,
Dorothy Ashby,
Peter and Kerry,
The Martian,
Marshall Jefferson,
Flash Fearless,
The Dave Clark Five,
Hot Snakes,
Harmonia,
Icehouse,
Cecil Taylor,
Whodini,
Newcleus,
The Shadows of Knight,
Quadrant,
Todd Rundgren,
Major Organ And The Adding Machine,
La Düsseldorf,
Liliput,
The Seeds,
Ralphi Rosario,
Shoche,
Blancmange,
June Days,
Spoonie Gee,
Roxette,
Faraquet,
R.M.O.,
Joe Finger,
The American Breed,
The Cowsills,
Tropical Tobacco,
The Selecter,
Joe Smooth,
Ultra Naté,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.