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 Montenegro and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Tokyo and London.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Matthew Halsall to the dance 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 Country Teasers. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
The Blues Magoos,
Half Japanese,
Siouxsie and the Banshees,
Los Fastidios,
Röyhkä ja Rättö ja Lehtisalo,
Fugazi,
U.S. Maple,
Joyce Sims,
Black Sheep,
Piero Umiliani,
Liaisons Dangereuses,
June of 44,
Captain Beefheart & His Magic Band,
Quantec,
Procol Harum,
Vainqueur,
Pere Ubu,
The Busters,
Pharoah Sanders,
The Moleskins,
Clear Light,
Country Joe & The Fish,
EPMD,
Bluetip,
One Last Wish,
The Star Department,
Slick Rick,
F. McDonald,
Wasted Youth,
Dark Day,
Sugar Minott,
The Selecter,
Funky Four + One,
Notorious Big And Bone Thugs,
Prince Buster,
Drexciya,
Bobby Byrd,
Donny Hathaway,
The Young Rascals,
the Fania All-Stars,
Red Lorry Yellow Lorry,
Soft Machine,
Youth Brigade,
The Grass Roots,
D'Angelo,
Zero Boys,
Ultra Naté,
The Sound,
Absolute Body Control,
The Chocolate Watch Band,
Black Flag,
Scott Walker,
Faust,
Tres Demented,
Al Stewart,
The Remains,
Lonnie Liston Smith,
Cameo,
Erasure,
a-ha,
Jacob Miller,
Deepchord,
Bill Near, Bill Near, Bill Near, Bill Near.
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.