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 Switzerland and from London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Rosa Yemen to the techno kids.
I played it at the Hacienda.
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 Interpol. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal punk 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Excepter,
The Selecter,
Mantronix,
Siglo XX,
The Techniques,
Rosa Yemen,
Smog,
Gil Scott Heron,
Electric Prunes,
Kayak,
Yaz,
Notorious Big And Bone Thugs,
Supertramp,
Connie Case,
F. McDonald,
The Red Krayola,
Blancmange,
Minutemen,
Soft Cell,
The Walker Brothers,
Ultravox,
Popol Vuh,
Erasure,
Nik Kershaw,
Babytalk,
Matthew Halsall,
The Dave Clark Five,
Main Source,
The J.B.'s,
Roy Ayers Ubiquity,
Soul II Soul,
Tropical Tobacco,
Eric B and Rakim,
Chris Corsano,
Banda Bassotti,
Funkadelic,
Jerry Gold Smith,
Groovy Waters,
Charles Mingus,
Eli Mardock,
Scratch Acid,
Sunsets and Hearts,
The Birthday Party,
Graham Central Station,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
D'Angelo,
Kauko Röyhkä ja Narttu,
The Sonics,
Massinfluence,
Skriet,
Intrusion,
Index,
The Residents,
Ludus,
The Knickerbockers,
Peter Gordon & Love of Life Orchestra,
CMW, CMW, CMW, CMW.
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.