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 Tajikistan and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1979.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Bologna 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 organ 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 Mark Hollis to the grime 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 Negative Approach. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Jawbox,
Sound Behaviour,
Donny Hathaway,
Rod Modell,
FM Einheit,
48th St. Collective,
Gang Green,
Tomorrow,
the Fania All-Stars,
Ohio Players,
Audionom,
a-ha,
Archie Shepp,
Neu!,
Brothers Johnson,
The Mummies,
Zero Boys,
Max Romeo,
The Seeds,
Smog,
The Monks,
Siouxsie and the Banshees,
ABBA,
Lakeside,
The Gladiators,
Bobby Byrd,
Jeru the Damaja,
It's A Beautiful Day,
Ludus,
Adolescents,
The Dead C,
Von Mondo,
Toni Rubio,
The Pop Group,
Leonard Cohen,
Bill Wells,
Wire,
Vladislav Delay,
Notorious BIG live in Amsterdam,
Can,
Gary Puckett & The Union Gap,
Bobby Womack,
Minor Threat,
Accadde A,
Hashim,
Ice-T,
Funkadelic,
Nation of Ulysses,
Sad Lovers and Giants,
Jesper Dahlbäck,
Sly & The Family Stone,
Traffic Nightmare,
DeepChord presents Echospace,
Harpers Bizarre,
Half Japanese,
The Selecter,
Kerrie Biddell,
Desert Stars,
Juan Atkins,
The Martian,
Q and Not U,
E-Dancer,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.