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 France and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar 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 Marc Almond to the techno kids.
I played it at CBGB's.
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 Freddie Wadling. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Davy DMX,
Kas Product,
Yaz,
Sonny Sharrock,
Gil Scott-Heron & Brian Jackson,
The Blackbyrds,
Fugazi,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Bananas,
Hoover,
Oblivians,
K-Klass,
The Vogues,
Camouflage,
Black Flag,
Quando Quango,
Cal Tjader,
Fluxion,
The Gories,
Vaughan Mason & Crew,
Blossom Toes,
A Flock of Seagulls,
Bang On A Can,
Ice-T,
World's Most,
OOIOO,
Skriet,
Super Lover Cee & Casanova Rud,
Ituana,
Bootsy's Rubber Band,
Jesper Dahlback,
June of 44,
The Zeros,
Surgeon,
Average White Band,
Public Enemy,
X-Ray Spex,
Eric B and Rakim,
Aswad,
The Cure,
Matthew Halsall,
Supertramp,
The Standells,
Cabaret Voltaire,
The Fortunes,
Girls At Our Best!,
Television Personalities,
Scott Walker + Sunn O))),
Mission of Burma,
Flipper,
Arthur Verocai,
The Moleskins,
Robert Wyatt,
Outsiders,
Neil Young,
Sun Ra Arkestra,
De La Soul & Jungle Brothers,
Tropical Tobacco,
Echo & the Bunnymen,
Circle Jerks,
Roxette,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.