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 Pakistan and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school New York 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 Holger Czukay 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 Bootsy's Rubber Band to the grunge kids.
I played it at the Roxy.
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 Black Bananas. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Move,
Byron Stingily,
The West Coast Pop Art Experimental Band,
Warren Ellis,
Tropical Tobacco,
The Knickerbockers,
Marc Almond,
The Gap Band,
Grandmaster Flash and the Furious Five,
Bill Wells,
Yusef Lateef,
Swell Maps,
Traffic Nightmare,
Sarah Menescal,
Bronski Beat,
Livin' Joy,
Country Teasers,
Scrapy,
Scan 7,
Adolescents,
Cecil Taylor,
Manfred Mann's Earth Band,
Joe Smooth,
JFA,
UT,
Kenny Larkin,
Soft Machine,
The Index,
Sixth Finger,
The Cosmic Jokers,
Lakeside,
Black Pus,
Peter and Kerry,
U.S. Maple,
Darondo,
Agent Orange,
Glambeats Corp.,
Mars,
Judy Mowatt,
The Divine Comedy,
The Black Dice,
MC5,
FM Einheit,
Reuben Wilson,
Amon Düül,
Gian Franco Pienzio,
Ossler,
Mad Mike,
The Cure,
Erykah Badu,
Wings,
The Wake,
The Sound,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Magazine,
Notorious Big And Bone Thugs,
Lou Reed & Metallica,
Bang On A Can,
The Five Americans,
Sexual Harrassment,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.