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 Saudi Arabia and from Taipei.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Spoonie Gee to the dance kids.
I played it at the 40 Watt.
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 X-Ray Spex. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every The Martian 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Kango’s Stein Massive,
Sixth Finger,
DJ Style,
Colin Newman,
CMW,
the Normal,
The Sound,
Gil Scott-Heron and Jamie xx,
Sex Pistols,
The Remains,
Alison Limerick,
The Sonics,
Main Source,
Heavy D & The Boyz,
Big Daddy Kane,
Gerry Rafferty,
EPMD,
Chrome,
Richard Hell and the Voidoids,
Rhythm & Sound,
The Names,
Albert Ayler,
Zero Boys,
The Gun Club,
Royal Trux,
The Last Poets,
Kevin Saunderson,
The Velvet Underground,
Skaos,
Pylon,
Roger Hodgson,
Sonny Sharrock,
The Mighty Diamonds,
Amazonics,
Jeff Lynne,
KRS-One,
The Durutti Column,
Yazoo,
Pantaleimon,
Wolf Eyes,
A Flock of Seagulls,
The Move,
Donny Hathaway,
JFA,
World's Most,
Marcia Griffiths,
Avey Tare & Kría Brekkan,
The Slackers,
Kool Moe Dee,
Roxy Music,
Art Ensemble Of Chicago,
The Dave Clark Five,
Scientists,
Rahsaan Roland Kirk,
Suburban Knight,
Mantronix,
Television,
T. Rex,
Pete Rock & C.L. Smooth,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.