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 Barbados and from Winnipeg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Matthew Bourne to the grunge kids.
I played it at the Roxy.
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 Moby Grape. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
The Pop Group,
Eyeless In Gaza,
Bobbi Humphrey,
Reagan Youth,
Underground Resistance,
Eurythmics,
Babytalk,
Bootsy Collins,
Tubeway Army,
Hoover,
The Moleskins,
E-Dancer,
The Angels of Light,
The United States of America,
Flamin' Groovies,
Roy Ayers,
Ajijia Myrayebe,
Urselle,
Peter & Gordon,
OOIOO,
The Sisters of Mercy,
Ronnie Foster,
John Cale,
Warsaw,
Todd Terry,
La Düsseldorf,
The West Coast Pop Art Experimental Band,
Crispian St. Peters,
Interpol,
Sister Nancy,
the Human League,
Traffic Nightmare,
The Velvet Underground,
Brothers Johnson,
Black Bananas,
Freddie Wadling,
Pharoah Sanders,
Essential Logic,
Los Fastidios,
Mary Jane Girls,
AZ,
Siglo XX,
Television Personalities,
KRS-One,
Kevin Saunderson,
The Young Rascals,
Monolake,
Wasted Youth,
The Divine Comedy,
Big Daddy Kane,
Brass Construction,
F. McDonald,
Wighnomy Brothers & Robag Wruhme,
Popol Vuh,
Lyres,
Quantec,
The Cosmic Jokers,
The Fortunes,
Ohio Players,
Half Japanese,
Quando Quango,
Sly & The Family Stone,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.