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 Beijing.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 Bauhaus 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 Peter and Kerry. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
ABBA,
Moebius,
Half Japanese,
Barry Ungar,
Public Enemy,
Lou Reed & John Cale,
Scientists,
The Techniques,
Alphaville,
Byron Stingily,
The Blackbyrds,
Idris Muhammad,
Whodini,
Second Layer,
Monolake,
Bang On A Can,
Deepchord,
Manfred Mann's Earth Band,
Jesper Dahlback,
Don Cherry,
The Shadows of Knight,
Animal Collective,
Harry Pussy,
Connie Case,
the Bar-Kays,
Sound Behaviour,
The Fall,
Funky Four + One,
Maurizio,
Kaleidoscope,
The American Breed,
Gong,
Steve Hackett,
Marshall Jefferson,
Funkadelic,
Television,
The Count Five,
The Wake,
Captain Beefheart & His Magic Band,
Nas,
JFA,
Gang Green,
Lalo Schifrin,
Flamin' Groovies,
Simply Red,
The Flesh Eaters,
Section 25,
Dark Day,
Archie Shepp,
Bizarre Inc.,
Kool G Rap & DJ Polo,
48th St. Collective,
The Cure,
Gang Starr,
Q65,
Terror Squad Feat. Camron,
The Motions,
Basic Channel,
Eric Dolphy,
Suburban Knight,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.