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 Swaziland and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1966 to 1976.
I'm losing my edge.
To all the kids in Toronto and Manila.
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 guitar 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 Bill Wells to the funk 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 Jimmy McGriff. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Brick,
Bad Manners,
Selector Dub Narcotic,
Lou Reed,
Skarface,
Letta Mbulu,
B.T. Express,
Gregory Isaacs,
The Skatalites,
Althea and Donna,
The J.B.'s,
the Bar-Kays,
The Zeros,
Amon Düül II,
Urselle,
Justin Hinds & The Dominoes,
Visage,
David McCallum,
Soul II Soul,
June of 44,
The Dirtbombs,
the Soft Cell,
Lizzy Mercier Descloux,
Crispy Ambulance,
Susan Cadogan,
T.S.O.L.,
Rahsaan Roland Kirk,
Sixth Finger,
Gil Scott-Heron & Brian Jackson,
Brothers Johnson,
Archie Shepp,
Stiv Bators,
Fatback Band,
Electric Prunes,
Symarip,
Steve Hackett,
Black Flag,
Laurel Aitken,
Sparks,
The Pretty Things,
Erykah Badu,
Youth Brigade,
Wighnomy Brothers & Robag Wruhme,
The Motions,
Minor Threat,
Deadbeat,
Rufus Thomas,
Pantytec,
Bobby Womack,
Fort Wilson Riot,
Ituana,
UT,
Yellowson,
Deutsch Amerikanische Freundschaft,
Lyres,
The Happenings,
Colin Newman,
Unwound,
Lou Christie,
Jeff Lynne,
The Cramps,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.