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 Korea North and from Madrid.
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 1972.
I'm losing my edge.
To all the kids in Manila and Jakarta.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Peter and Kerry to the techno 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 Harpers Bizarre. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Sister Nancy,
The American Breed,
Camouflage,
Grey Daturas,
Chris Corsano,
Rahsaan Roland Kirk,
Donny Hathaway,
Peter and Kerry,
The Peanut Butter Conspiracy,
The Fortunes,
Crooked Eye,
Orchestral Manoeuvres in the Dark,
Ultimate Spinach,
Robert Wyatt,
Monolake,
Boogie Down Productions,
Isaac Hayes,
The Evens,
Sex Pistols,
Banda Bassotti,
Lucky Dragons,
Ohio Players,
Unrelated Segments,
Mary Jane Girls,
The Cowsills,
Minnie Riperton,
Eric B and Rakim,
Freddie Wadling,
Gang of Four,
Scan 7,
Cal Tjader,
Roger Hodgson,
Spandau Ballet,
Outsiders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
X-101,
Soft Machine,
Wasted Youth,
Fear,
DeepChord presents Echospace,
The Standells,
The Golliwogs,
The Index,
Tropical Tobacco,
The Moleskins,
Arab on Radar,
Jacob Miller,
Pantytec,
The Associates,
Deutsch Amerikanische Freundschaft,
John Lydon,
the Normal,
The Five Americans,
The Fuzztones,
Rod Modell,
Barbara Tucker,
Harry Pussy,
Matthew Bourne,
Bobby Womack,
Deepchord,
Charles Mingus,
Manfred Mann's Earth Band,
Ronan, Ronan, Ronan, Ronan.
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.