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 Namibia and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Deepchord to the grunge 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 Robert Hood. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Mark Hollis,
The Flesh Eaters,
The Offenders,
Stiv Bators,
Sound Behaviour,
Joensuu 1685,
Roger Hodgson,
Gichy Dan,
Marvin Gaye,
Magma,
Bobby Sherman,
10cc,
The Blackbyrds,
Siouxsie and the Banshees,
Thee Headcoats,
Dennis Brown,
Fugazi,
Soul Sonic Force,
Marc Almond,
Minutemen,
The Shadows of Knight,
Easy Going,
Frankie Knuckles,
Liliput,
Slick Rick,
Black Pus,
the Sonics,
Cheater Slicks,
Magazine,
Maleditus Sound,
B.T. Express,
Barry Ungar,
DJ Style,
Clear Light,
Leonard Cohen,
The Black Dice,
The Saints,
ABBA,
Rod Modell,
Shuggie Otis,
Bootsy Collins,
Matthew Bourne,
The Count Five,
MC5,
The Gories,
Ronnie Foster,
Danielle Patucci,
Whodini,
Vladislav Delay,
Technova,
Lonnie Liston Smith,
Byron Stingily,
Depeche Mode,
Schoolly D,
Malaria!,
48th St. Collective,
Nick Cave & The Bad Seeds,
Hoover,
the Human League,
Alison Limerick,
The Gun Club,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.