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 Honduras and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Milan 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Severed Heads to the disco kids.
I played it at the 40 Watt.
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 Livin' Joy. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Michelle Simonal 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Derrick May,
Shuggie Otis,
Radiohead,
Outsiders,
Black Sheep,
Siouxsie and the Banshees,
Groovy Waters,
Drive Like Jehu,
Pylon,
The Smiths,
Dave Gahan,
The Remains,
Young Marble Giants,
The Searchers,
The Evens,
Blake Baxter,
The United States of America,
Grandmaster Flash and the Furious Five,
The Fortunes,
Blancmange,
Alison Limerick,
Suburban Knight,
Spandau Ballet,
L. Decosne,
Nick Fraelich,
Wolf Eyes,
Mandrill,
the Sonics,
Ultravox,
The Fall,
Andrew Ashong & Theo Parrish,
Jerry's Kids,
Avey Tare's Slasher Flicks,
Sunsets and Hearts,
Notorious BIG live in Amsterdam,
The Cowsills,
Big Daddy Kane,
Pantytec,
Jeff Lynne,
Grandmaster Flash,
Roger Hodgson,
Jandek,
Man Parrish,
Mars,
Echo & the Bunnymen,
The New Christs,
Albert Ayler,
Pulsallama,
Orchestral Manoeuvres in the Dark,
Essential Logic,
K-Klass,
Subhumans,
The Standells,
Fela Kuti,
Sister Nancy,
Sparks,
Y Pants,
Kevin Saunderson,
Slick Rick,
The Litter,
Fluxion,
The Pop Group,
Main Source, Main Source, Main Source, Main Source.
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.