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 Croatia and from Edmonton.
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 1965 to 1972.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Rufus Thomas to the crunk kids.
I played it at Cafe Wha.
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 Monochrome Set. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Fat Boys,
Terrestrial Tones,
Johnny Osbourne,
Clear Light,
Mission of Burma,
Babytalk,
Spandau Ballet,
The Dead C,
Eddi Front,
Tommy Roe,
Oppenheimer Analysis,
The Doobie Brothers,
Aswad,
MC5,
The Chocolate Watch Band,
The Fire Engines,
Siglo XX,
Symarip,
Sixth Finger,
Minutemen,
The Invisible,
Piero Umiliani,
Funky Four + One,
Matthew Bourne,
Desert Stars,
Das Ding,
Kaleidoscope,
Nick Cave & The Bad Seeds,
The Five Americans,
Liaisons Dangereuses,
Pantaleimon,
Tim Buckley,
Justin Hinds & The Dominoes,
Fear,
Sound Behaviour,
AZ,
Josef K,
E-Dancer,
Wings,
Radio Birdman,
Unrelated Segments,
Eden Ahbez,
Deakin,
Rosa Yemen,
Jeff Mills,
Rowland S Howard / Lydia Lunch,
A Certain Ratio,
The Seeds,
Ken Boothe,
Radiopuhelimet,
Stiv Bators,
Don Cherry,
Big Daddy Kane,
Electric Prunes,
Rufus Thomas,
Hasil Adkins,
Amon Düül,
Lungfish,
Yusef Lateef,
Bootsy's Rubber Band,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.