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 Venezuela and from Houston.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Shanghai 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 rhodes sounds with much patience.
I was there when David Bowie 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 Toni Rubio to the techno kids.
I played it at CBGB's.
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 Liliput. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
John Lydon,
The Kinks,
The Standells,
Massinfluence,
Crooked Eye,
The Fire Engines,
Harry Pussy,
X-102,
Circle Jerks,
Sugar Minott,
The Blues Magoos,
Cymande,
Moebius,
Man Eating Sloth,
Khruangbin,
The Beau Brummels,
Bizarre Inc.,
Little Man,
the Slits,
Roy Ayers Ubiquity,
Scrapy,
Pere Ubu,
Nation of Ulysses,
Can,
The Jesus and Mary Chain,
K-Klass,
Oneida,
The Raincoats,
Fifty Foot Hose,
Jimmy McGriff,
Nirvana,
Subhumans,
EPMD,
Scion,
Magma,
Super Lover Cee & Casanova Rud,
The Names,
Technova,
Fort Wilson Riot,
the Association,
Ornette Coleman,
Amon Düül II,
Curtis Mayfield,
Ohio Players,
Flash Fearless,
Underground Resistance,
The Pretty Things,
Graham Central Station,
Chris Corsano,
Deadbeat,
Slick Rick,
Altered Images,
David Axelrod,
Au Pairs,
Malaria!,
Masters at Work,
Mandrill,
Pylon,
Eric B and Rakim,
Procol Harum,
Easy Going,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.