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 Burundi 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 1963 to 1976.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Spokane 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 Captain Beefheart 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 Cybotron to the grime kids.
I played it at the Hacienda.
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 Mo-Dettes. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Hoover,
Anakelly,
Khruangbin,
Graham Central Station,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Moby Grape,
Severed Heads,
The Busters,
Gian Franco Pienzio,
Buzzcocks,
Ice-T,
Pantytec,
Ituana,
Public Enemy,
FM Einheit,
Technova,
KRS-One,
The Misunderstood,
Bluetip,
Basic Channel,
Glambeats Corp.,
Terrestrial Tones,
Ornette Coleman,
Sonny Sharrock,
Infiniti,
Section 25,
Jesper Dahlbäck,
the Fania All-Stars,
Deadbeat,
Hashim,
Eyeless In Gaza,
The Angels of Light,
Ten City,
David Axelrod,
Schoolly D,
Rahsaan Roland Kirk,
Kerrie Biddell,
Q65,
Mandrill,
The Detroit Cobras,
Pharoah Sanders,
Popol Vuh,
Brass Construction,
Sugar Minott,
Brick,
The Human League,
The Fire Engines,
Teenage Jesus and the Jerks,
John Cale,
The Dave Clark Five,
Peter & Gordon,
Siouxsie and the Banshees,
Kauko Röyhkä ja Narttu,
Flipper,
the Soft Cell,
Parry Music,
Jacques Brel,
Nico,
Whodini,
Boredoms, Boredoms, Boredoms, Boredoms.
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.