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 Guinea and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Tokyo 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 güiro 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 Country Teasers to the electroclash kids.
I played it at Cafe Wha.
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 Gastr Del Sol. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
10cc,
Franke,
Nirvana,
The Men They Couldn't Hang,
Aloha Tigers,
Connie Case,
the Swans,
Drive Like Jehu,
Hashim,
Oneida,
Icehouse,
Minnie Riperton,
Electric Light Orchestra,
Sun City Girls,
Vainqueur,
Drexciya,
Jimmy McGriff,
Amon Düül II,
Ash Ra Tempel,
Idris Muhammad,
Mission of Burma,
Althea and Donna,
K-Klass,
Yellowson,
Jawbox,
Pylon,
Cabaret Voltaire,
Suburban Knight,
Blake Baxter,
Lightning Bolt,
Sixth Finger,
Public Image Ltd.,
Ralphi Rosario,
Oblivians,
Fluxion,
Nation of Ulysses,
Larry & the Blue Notes,
Ohio Players,
Deutsch Amerikanische Freundschaft,
Monolake,
De La Soul & Jungle Brothers,
The Monochrome Set,
Ajijia Myrayebe,
Bobby Sherman,
Echospace,
Zapp,
The Motions,
Surgeon,
Marcia Griffiths,
Gil Scott Heron,
The Black Dice,
Terrestrial Tones,
The Doobie Brothers,
Pantytec,
The Mighty Diamonds,
Cecil Taylor,
David Bowie,
Derrick May,
Howard Jones,
Traffic Nightmare,
Inner City,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.