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 Panama and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Portland 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 Nile Rodgers 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 Throbbing Gristle to the techno kids.
I played it at Cafe Wha.
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 New York Dolls. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Man Eating Sloth 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
CMW,
Brand Nubian,
Gang of Four,
Q and Not U,
Spoonie Gee,
Con Funk Shun,
Marvin Gaye,
Angels of Light & Akron/Family,
The Blackbyrds,
The Kinks,
Echo & the Bunnymen,
The Tremeloes,
Y Pants,
The Sonics,
The Mighty Diamonds,
Masters at Work,
Lyres,
Traffic Nightmare,
Chrome,
June Days,
Crispy Ambulance,
David Bowie,
Cymande,
The Gories,
Laurel Aitken,
the Fania All-Stars,
The Black Dice,
The Pretty Things,
Hardrive,
The Trojans,
Lonnie Liston Smith,
The Associates,
One Last Wish,
The Doors,
Kas Product,
Chris Corsano,
Fad Gadget,
John Foxx,
The Dead C,
Dennis Brown,
New York Dolls,
The Evens,
Todd Rundgren,
10cc,
Röyhkä ja Rättö ja Lehtisalo,
La Düsseldorf,
EPMD,
Lucky Dragons,
Kaleidoscope,
John Holt,
Maleditus Sound,
Steve Hackett,
the Soft Cell,
Alton Ellis,
Joensuu 1685,
Drive Like Jehu,
Moss Icon,
Gang Starr,
Davy DMX,
R.M.O.,
The Sisters of Mercy,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.