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 Sierra Leone and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1967 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when David Bowie 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 John Lydon to the disco kids.
I played it at Trash.
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 Ice-T. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Avey Tare 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Marcia Griffiths,
Gastr Del Sol,
Can,
L. Decosne,
Connie Case,
Junior Murvin,
Gichy Dan,
The Peanut Butter Conspiracy,
Urselle,
R.M.O.,
Monks,
Flamin' Groovies,
DJ Style,
Susan Cadogan,
The Pretty Things,
Joyce Sims,
Barclay James Harvest,
Tropical Tobacco,
Lower 48,
Circle Jerks,
Deakin,
Angry Samoans,
Big Daddy Kane,
Alison Limerick,
Jeff Lynne,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
Tears for Fears,
Pet Shop Boys,
Robert Wyatt,
Davy DMX,
Thinking Fellers Union Local 282,
Fad Gadget,
The Victims,
The Raincoats,
Skaos,
Wally Richardson,
ABBA,
Derrick Morgan,
Magazine,
Eve St. Jones,
Dark Day,
Sad Lovers and Giants,
Camouflage,
Lou Christie,
Public Enemy,
Traffic Nightmare,
Cluster,
Jacques Brel,
Quadrant,
Gong,
Man Eating Sloth,
Index,
The Chocolate Watch Band,
Faraquet,
Excepter,
Wire,
The Pop Group,
Echo & the Bunnymen,
Zero Boys,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.