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 Antigua and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 Eric Dolphy to the dance kids.
I played it at the Troubador.
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 Connie Case. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every The Music Machine 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Art Ensemble Of Chicago,
Thee Headcoats,
Sad Lovers and Giants,
Jesper Dahlback,
Rites of Spring,
Funkadelic,
Loose Ends,
Juan Atkins,
Barclay James Harvest,
Harpers Bizarre,
Ultravox,
Skriet,
Angels of Light & Akron/Family,
Kenny Larkin,
Marmalade,
Grandmaster Flash and the Furious Five,
Magma,
John Lydon,
Nation of Ulysses,
Derrick Morgan,
The Fugs,
Sällskapet,
The Names,
Jerry Gold Smith,
the Normal,
Amon Düül II,
Dennis Brown,
the Slits,
The Smiths,
The Grass Roots,
Masters at Work,
Wings,
Warsaw,
Kauko Röyhkä ja Narttu,
Faust,
Rufus Thomas,
Eve St. Jones,
Roxy Music,
The Gories,
Jeru the Damaja,
The Five Americans,
De La Soul & Jungle Brothers,
Kaleidoscope,
Johnny Clarke,
Mandrill,
Scion,
Crooked Eye,
Trumans Water,
The Offenders,
Boogie Down Productions,
Tomorrow,
A Flock of Seagulls,
Y Pants,
Joy Division,
John Holt,
Sun City Girls,
The Slackers,
Lee Hazlewood,
Davy DMX,
Banda Bassotti,
Buzzcocks,
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.