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 Jamaica and from Philadelphia.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Japan 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 Heavy D & The Boyz. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Orchestral Manoeuvres in the Dark,
Panda Bear,
De La Soul & Jungle Brothers,
Crispian St. Peters,
Pharoah Sanders,
Marmalade,
Glambeats Corp.,
E-Dancer,
Urselle,
Harpers Bizarre,
Ash Ra Tempel,
The Fall,
JFA,
The Smoke,
Brand Nubian,
Red Lorry Yellow Lorry,
X-101,
CMW,
The Toasters,
Gichy Dan,
Nation of Ulysses,
Moebius,
Pete Rock & C.L. Smooth,
The Divine Comedy,
Hoover,
Janne Schatter,
The Blues Magoos,
Jeff Lynne,
Röyhkä ja Rättö ja Lehtisalo,
Niagra,
Grey Daturas,
Barbara Tucker,
Albert Ayler,
The Men They Couldn't Hang,
The New Christs,
Clear Light,
Tim Buckley,
Kool Moe Dee,
Barry Ungar,
Hasil Adkins,
Nico,
Skriet,
the Human League,
Pagans,
Pussy Galore,
Lightning Bolt,
Arcadia,
Dark Day,
Groovy Waters,
Cecil Taylor,
Byron Stingily,
Average White Band,
Gregory Isaacs,
Eddi Front,
Bob Dylan,
Arab on Radar,
Avey Tare,
Black Flag,
Liaisons Dangereuses,
Amazonics,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.