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 Solomon Islands and from Beijing.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Robert Palmer 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 Mark Hollis to the punk 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 Kaleidoscope. All the underground hits.
All Can tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Audionom,
Malaria!,
The Jesus and Mary Chain,
KRS-One,
MC5,
The Martian,
Marc Romboy vs. Booka Shade,
T.S.O.L.,
Kas Product,
Crime,
It's A Beautiful Day,
Chris & Cosey,
Stetsasonic,
MDC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
UT,
Mad Mike,
Eric Copeland,
Slave,
Lightning Bolt,
The Litter,
Funkadelic,
Banda Bassotti,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
Heaven 17,
The Doobie Brothers,
Scott Walker + Sunn O))),
Dorothy Ashby,
Flash Fearless,
Bobby Byrd,
Porter Ricks,
The Black Dice,
Brothers Johnson,
Ice-T,
Suicide,
Black Pus,
Nico,
John Coltrane,
In Retrospect,
Jesper Dahlbäck,
Isaac Hayes,
Bootsy Collins,
Aswad,
Eyeless In Gaza,
Barrington Levy,
The Last Poets,
Gian Franco Pienzio,
Pylon,
Swell Maps,
Althea and Donna,
Notorious Big And Bone Thugs,
Roxette,
Lucky Dragons,
Gil Scott Heron,
Outsiders,
Ultravox,
Anakelly,
Basic Channel,
Hoover,
The Mojo Men,
The Motions, The Motions, The Motions, The Motions.
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.