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 Hungary and from Madrid.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Shanghai 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Associates to the rock kids.
I played it at the Astoria.
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 Second Layer. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The United States of America 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 '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Cal Tjader,
Funkadelic,
Sällskapet,
Lizzy Mercier Descloux,
Leonard Cohen,
Soft Machine,
The Star Department,
Q and Not U,
Sad Lovers and Giants,
Crooked Eye,
Magazine,
Nick Fraelich,
Josef K,
The American Breed,
Rekid,
Traffic Nightmare,
Byron Stingily,
Pylon,
Spandau Ballet,
Suicide,
Symarip,
Joe Smooth,
Television Personalities,
The Techniques,
Avey Tare,
Boredoms,
Monolake,
Pulsallama,
Simply Red,
The Five Americans,
Accadde A,
Jesper Dahlbäck,
Smog,
Maleditus Sound,
Michelle Simonal,
Oblivians,
Lebanon Hanover,
Sonny Sharrock,
Saccharine Trust,
Peter and Kerry,
The Red Krayola,
The Fire Engines,
Peter & Gordon,
The Kinks,
Yazoo,
The Detroit Cobras,
Malaria!,
Lightning Bolt,
Gregory Isaacs,
The Angels of Light,
The Happenings,
FM Einheit,
Stockholm Monsters,
Sly & The Family Stone,
Davy DMX,
Oppenheimer Analysis,
Fear,
Kurtis Blow,
Moss Icon,
Eric Copeland,
Johnny Osbourne,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.