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 New York.
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 1976.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Taipei 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Cymande to the disco kids.
I played it at Cafe Wha.
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 Robert Hood. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
Guru Guru,
Main Source,
Lower 48,
ABC,
D'Angelo,
Leonard Cohen,
The Electric Prunes,
48th St. Collective,
Half Japanese,
Soul Sonic Force,
Sam Rivers,
Deepchord,
F. McDonald,
Sugar Minott,
Nirvana,
Siouxsie and the Banshees,
Josef K,
Matthew Bourne,
The Cowsills,
The Victims,
Unwound,
kango's stein massive,
Bootsy's Rubber Band,
the Normal,
Cluster,
Barbara Tucker,
Mantronix,
Flash Fearless,
Bizarre Inc.,
Ultramagnetic MC's,
Soul II Soul,
Camberwell Now,
The Misunderstood,
Oneida,
Tubeway Army,
Sandy B,
Symarip,
Jimmy McGriff,
U.S. Maple,
The Slits,
Fat Boys,
Glenn Branca,
The Angels of Light,
Lou Reed,
Absolute Body Control,
Beasts of Bourbon,
Black Bananas,
Funkadelic,
Grandmaster Flash and the Furious Five,
The Gap Band,
The Remains,
Minutemen,
Model 500,
Spandau Ballet,
Gary Puckett & The Union Gap,
Bluetip,
Roxette,
Electric Prunes,
Brothers Johnson,
Television Personalities,
David Bowie,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.