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 Cuba and from Tehran.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Lagos 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 clarinet 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 Barrington Levy to the crunk 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 Strawberry Alarm Clock. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Slave 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Eyeless In Gaza,
The Gap Band,
Minnie Riperton,
Bauhaus,
Fugazi,
Infiniti,
Wings,
Technova,
Outsiders,
Public Enemy,
The United States of America,
The West Coast Pop Art Experimental Band,
The Modern Lovers,
Oblivians,
The Dirtbombs,
Agent Orange,
Beasts of Bourbon,
Massinfluence,
Monolake,
Lungfish,
Interpol,
The Shadows of Knight,
Liaisons Dangereuses,
Wally Richardson,
Tim Buckley,
Piero Umiliani,
Echospace,
In Retrospect,
Second Layer,
Robert Görl,
Nas,
New York Dolls,
Man Eating Sloth,
Ossler,
James White and The Blacks,
The Alarm Clocks,
Ultramagnetic MC's,
Drive Like Jehu,
Oppenheimer Analysis,
Brick,
Howard Jones,
Urselle,
Bang On A Can,
This Heat,
Gong,
The Divine Comedy,
Dark Day,
Siouxsie and the Banshees,
Brass Construction,
John Lydon,
Jesper Dahlback,
David Bowie,
The Golliwogs,
Junior Murvin,
Scott Walker,
Metal Thangz,
Albert Ayler,
John Cale,
The Moleskins,
Soul II Soul,
10cc,
Q and Not U,
Underground Resistance,
the Association, the Association, the Association, the Association.
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.