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 Czech Republic and from Winnipeg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Spokane and Columbus.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Mark Hollis to the jazz 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 Robert Hood. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
R.M.O.,
John Coltrane,
Supertramp,
Peter and Kerry,
Letta Mbulu,
The American Breed,
The Mojo Men,
Oblivians,
Shuggie Otis,
Surgeon,
Bobbi Humphrey,
Howard Jones,
Roger Hodgson,
Janne Schatter,
The Trojans,
Clear Light,
Fifty Foot Hose,
Heavy D & The Boyz,
Black Flag,
The Residents,
Barclay James Harvest,
Pantaleimon,
Blake Baxter,
Das Ding,
Pylon,
Banda Bassotti,
The Beau Brummels,
Quadrant,
Vaughan Mason & Crew,
Bobby Byrd,
Vainqueur,
Deutsch Amerikanische Freundschaft,
The Mighty Diamonds,
New Age Steppers,
Arthur Verocai,
Ultimate Spinach,
The Sonics,
Bill Near,
Jeff Lynne,
Blancmange,
Eric B and Rakim,
Tommy Roe,
Metal Thangz,
Danielle Patucci,
Marshall Jefferson,
Gil Scott-Heron & Brian Jackson,
The Martian,
John Holt,
Red Lorry Yellow Lorry,
Shoche,
Eyeless In Gaza,
Rufus Thomas,
Ultra Naté,
Graham Central Station,
Oneida,
Trumans Water,
Stiv Bators,
Aural Exciters,
Todd Terry,
Kool G Rap & DJ Polo,
The Gladiators,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.