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 Sri Lanka and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Nile Rodgers 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 The Dead C to the jazz kids.
I played it at the 40 Watt.
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 The Royal Family And The Poor. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
The Durutti Column,
Public Enemy,
Liaisons Dangereuses,
Gong,
Ludus,
The Cure,
Babytalk,
the Soft Cell,
June Days,
DeepChord presents Echospace,
Brass Construction,
Sister Nancy,
Echospace,
Terry Callier,
Soul Sonic Force,
David Bowie,
Gian Franco Pienzio,
U.S. Maple,
Girls At Our Best!,
The Kinks,
Minor Threat,
Alison Limerick,
Camouflage,
Soft Machine,
The Monks,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Technova,
Faraquet,
Warren Ellis,
Piero Umiliani,
Ronan,
Depeche Mode,
Thee Headcoats,
London Community Gospel Choir,
Half Japanese,
Procol Harum,
James White and The Blacks,
Main Source,
Skarface,
Michelle Simonal,
Sun Ra Arkestra,
Matthew Halsall,
Absolute Body Control,
Pussy Galore,
Rahsaan Roland Kirk,
Boz Scaggs,
Harry Pussy,
Alton Ellis,
Teenage Jesus and the Jerks,
Blossom Toes,
Trumans Water,
Ultra Naté,
The Doors,
Derrick Morgan,
Chris Corsano,
Jawbox,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.