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 Belize and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1975.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Ultravox to the rap kids.
I played it at the Spitz.
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 Kings Of Tomorrow. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Swell Maps 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 '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
The Saints,
Glambeats Corp.,
10cc,
Mark Hollis,
Zapp,
James White and The Blacks,
Wire,
Pharaoh Sanders and the Fire Engines,
DeepChord presents Echospace,
The Leaves,
A Flock of Seagulls,
Fluxion,
The Wake,
Peter Gordon & Love of Life Orchestra,
Livin' Joy,
Pet Shop Boys,
Dark Day,
The West Coast Pop Art Experimental Band,
Babytalk,
James Chance & The Contortions,
Public Enemy,
Bluetip,
Laurel Aitken,
The Evens,
Minor Threat,
Whodini,
Soft Machine,
Kerrie Biddell,
The Barracudas,
Strawberry Alarm Clock,
Tres Demented,
Monolake,
Kevin Saunderson,
Television Personalities,
Crooked Eye,
Pantytec,
Flash Fearless,
Yellowson,
D'Angelo,
Amon Düül II,
Andrew Hill,
Half Japanese,
Sam Rivers,
Art Ensemble Of Chicago,
KRS-One,
Schoolly D,
Black Pus,
Subhumans,
Marvin Gaye,
Pulsallama,
DJ Style,
Newcleus,
Heaven 17,
Ituana,
The Music Machine,
London Community Gospel Choir,
Malaria!,
Kool Moe Dee,
the Human League,
Spoonie Gee,
The Residents,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.