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 Mongolia and from Toronto.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 MDC to the funk kids.
I played it at the Spitz.
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 Monolake. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Infiniti,
June Days,
Swell Maps,
U.S. Maple,
Brand Nubian,
Liaisons Dangereuses,
Clear Light,
JFA,
Buzzcocks,
FM Einheit,
Eden Ahbez,
Tears for Fears,
The Walker Brothers,
Livin' Joy,
Chrome,
Charles Mingus,
Masters at Work,
June of 44,
DeepChord presents Echospace,
Minnie Riperton,
LL Cool J,
Gang Starr,
Carl Craig,
Jeff Mills,
Notorious BIG live in Amsterdam,
The Five Americans,
Bauhaus,
Fad Gadget,
The Black Dice,
Gil Scott Heron,
Patti Smith,
Fugazi,
John Holt,
The Fire Engines,
Second Layer,
Cymande,
Eurythmics,
a-ha,
Faraquet,
Heavy D & The Boyz,
Silicon Teens,
Tres Demented,
Marc Almond,
Ultravox,
Bob Dylan,
Ultra Naté,
Peter and Kerry,
Gastr Del Sol,
The Vogues,
Icehouse,
Sandy B,
Maurizio,
Radiopuhelimet,
Trumans Water,
Toni Rubio,
Vladislav Delay,
Electric Prunes,
Scion,
Slave,
Visage,
the Human League,
Thee Headcoats,
Dr. Dre and Snoop Doggy Dog,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.