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 Liberia and from Lille.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Seoul 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron 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 The United States of America to the electroclash kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Shadows of Knight,
Notorious BIG live in Amsterdam,
Harmonia,
Sugar Minott,
Little Man,
Marmalade,
Marc Romboy vs. Booka Shade,
Massinfluence,
Drexciya,
Eric Copeland,
In Retrospect,
John Coltrane,
Janne Schatter,
Ralphi Rosario,
The Sisters of Mercy,
The Victims,
Grandmaster Flash,
the Association,
Bizarre Inc.,
Qualms,
Lightning Bolt,
Country Teasers,
Barry Ungar,
Bad Manners,
Arthur Verocai,
Oblivians,
Skarface,
Make Up,
Anthony Braxton,
Dark Day,
Bush Tetras,
Joyce Sims,
E-Dancer,
Interpol,
Technova,
Silicon Teens,
Ludus,
Mission of Burma,
Faraquet,
Brothers Johnson,
Mr. Review,
Yusef Lateef,
The Residents,
David McCallum,
Jesper Dahlbäck,
Minutemen,
Eyeless In Gaza,
Sight & Sound,
Dr. Dre and Snoop Doggy Dog,
Lindisfarne,
Joe Smooth,
the Bar-Kays,
Sticky Fingaz feat. Raekwon,
Derrick May,
Stiv Bators,
Negative Approach,
MDC,
Suburban Knight,
Richard Hell and the Voidoids,
T. Rex,
Fugazi,
The Red Krayola,
Ponytail,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.