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 Estonia and from Seoul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 The Doobie Brothers to the funk kids.
I played it at the Spitz.
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 Marshall Jefferson. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Young Marble Giants 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 '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Dawn Penn,
Sunsets and Hearts,
The Fugs,
Crooked Eye,
Amon Düül II,
Sugar Minott,
Bobby Hutcherson,
Crispy Ambulance,
Man Eating Sloth,
The Shadows of Knight,
Lee Hazlewood,
Agitation Free,
Ultramagnetic MC's,
the Association,
Cecil Taylor,
Visionaries,LMNO, T- Love & Iriscience,
World's Most,
Yellowson,
the Human League,
Scratch Acid,
Heaven 17,
Lindisfarne,
Vladislav Delay,
Pussy Galore,
Lalo Schifrin,
The Standells,
Moby Grape,
Pete Rock & C.L. Smooth,
L. Decosne,
Vaughan Mason & Crew,
Henry Cow,
Connie Case,
Steve Hackett,
The Music Machine,
Aural Exciters,
Soft Machine,
The Pop Group,
Super Lover Cee & Casanova Rud,
Buzzcocks,
Peter & Gordon,
Gang Gang Dance,
The Cure,
Eve St. Jones,
Bootsy Collins,
Niagra,
Q65,
Gregory Isaacs,
The Beau Brummels,
Deadbeat,
The Detroit Cobras,
Richard Hell and the Voidoids,
the Normal,
Johnny Osbourne,
The J.B.'s,
Bootsy's Rubber Band,
Isaac Hayes,
Harpers Bizarre,
Hasil Adkins,
Livin' Joy,
Bang On A Can,
Albert Ayler,
Kas Product, Kas Product, Kas Product, Kas Product.
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.