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 Japan and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
I'm losing my edge to the art-school Delhi 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Agitation Free to the dance 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 The Doors. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal rap 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 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
the Fania All-Stars,
Traffic Nightmare,
Lucky Dragons,
Gary Puckett & The Union Gap,
The Move,
D'Angelo,
Morten Harket,
Boredoms,
Angels of Light & Akron/Family,
Derrick May,
Amazonics,
Throbbing Gristle,
Lyres,
The Slits,
Delta 5,
Joe Finger,
Ronnie Foster,
The Young Rascals,
Glambeats Corp.,
New York Dolls,
Bad Manners,
Agitation Free,
Albert Ayler,
The Gories,
Q65,
Skaos,
Schoolly D,
Can,
The Buckinghams,
Junior Murvin,
Mark Hollis,
Quando Quango,
Organ,
Peter Gordon & Love of Life Orchestra,
Japan,
The Dead C,
The Doors,
The Golliwogs,
Fat Boys,
The Walker Brothers,
The Offenders,
Nas,
Eve St. Jones,
The Sonics,
Nick Fraelich,
Smog,
Bobby Hutcherson,
Ash Ra Tempel,
Sugar Minott,
The Residents,
Bizarre Inc.,
The Sisters of Mercy,
Ornette Coleman,
Ultramagnetic MC's,
Oppenheimer Analysis,
Connie Case,
The Wake,
Sonny Sharrock,
Gil Scott-Heron and Jamie xx,
DJ Style,
Kango’s Stein Massive,
Jandek, Jandek, Jandek, Jandek.
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.