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 Woodstock.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
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 marimba 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 The Doobie Brothers to the dance kids.
I played it at Trash.
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 Sly & The Family Stone. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Eyeless In Gaza,
Spandau Ballet,
The Jesus and Mary Chain,
Bobby Womack,
Lower 48,
Ultra Naté,
PIL,
The Electric Prunes,
Gary Puckett & The Union Gap,
Black Bananas,
The Cosmic Jokers,
Swell Maps,
Lou Christie,
Parry Music,
Erasure,
Josef K,
Lebanon Hanover,
Jawbox,
Mandrill,
Glambeats Corp.,
Kas Product,
Peter Gordon & Love of Life Orchestra,
Siouxsie and the Banshees,
Archie Shepp,
Aural Exciters,
Girls At Our Best!,
John Coltrane,
Mr. Review,
Marc Romboy vs. Booka Shade,
A Certain Ratio,
Rapeman,
The Chocolate Watch Band,
Rhythm & Sound,
Silicon Teens,
Brass Construction,
Joyce Sims,
Can,
The Fall,
The Barracudas,
The Toasters,
Althea and Donna,
Joe Smooth,
UT,
Von Mondo,
Sunsets and Hearts,
Avey Tare & Kría Brekkan,
Echo & the Bunnymen,
Marine Girls,
the Swans,
Peter and Kerry,
Make Up,
Section 25,
The Count Five,
Unrelated Segments,
Bronski Beat,
The Litter,
the Association,
Babytalk,
Isaac Hayes,
Howard Jones,
Byron Stingily,
Connie Case, Connie Case, Connie Case, Connie Case.
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.