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 Dominican Republic and from Halifax.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Delhi 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 Bronski Beat practice in a loft in Brixton.
I was working on the 808 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 New Age Steppers to the disco kids.
I played it at the Crocodile.
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 Offenders. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Monolake,
MDC,
Massinfluence,
The United States of America,
The Blackbyrds,
Wolf Eyes,
Visage,
cv313,
Laurel Aitken,
The Monks,
Marcia Griffiths,
Camouflage,
Babytalk,
Connie Case,
Glambeats Corp.,
John Lydon,
Avey Tare & Kría Brekkan,
Fluxion,
Tears for Fears,
Con Funk Shun,
The Pop Group,
Jacob Miller,
Echospace,
Kerri Chandler,
Grauzone,
Gang Green,
Alison Limerick,
David Axelrod,
Fat Boys,
Kool G Rap & DJ Polo,
Suicide,
Interpol,
Rosa Yemen,
These Immortal Souls,
Basic Channel,
Vladislav Delay,
Kauko Röyhkä ja Narttu,
Arcadia,
Zero Boys,
The Fortunes,
Radiopuhelimet,
Slave,
Magma,
LL Cool J,
Graham Central Station,
Tubeway Army,
The Selecter,
Althea and Donna,
Sonic Youth,
Thinking Fellers Union Local 282,
Flamin' Groovies,
Justin Hinds & The Dominoes,
Cymande,
David McCallum,
Chris & Cosey,
Roxy Music,
Stockholm Monsters,
Lucky Dragons,
Strawberry Alarm Clock,
Rekid,
Mandrill,
Faust,
K-Klass, K-Klass, K-Klass, K-Klass.
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.