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 Marshall Islands and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Hot Snakes 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 The Slits. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The Human League 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Lightning Bolt,
Nirvana,
The Divine Comedy,
Avey Tare & Kría Brekkan,
Avey Tare's Slasher Flicks,
Los Fastidios,
Roxette,
Ralphi Rosario,
The Mighty Diamonds,
Oneida,
MC5,
Gang Green,
The Red Krayola,
Skriet,
Skaos,
The Tremeloes,
Siglo XX,
Idris Muhammad,
Barbara Tucker,
Dave Gahan,
Brothers Johnson,
Vaughan Mason & Crew,
Rhythm & Sound,
Grandmaster Flash and the Furious Five,
the Bar-Kays,
Eyeless In Gaza,
Aural Exciters,
Anakelly,
Girls At Our Best!,
Arab on Radar,
Talk Talk,
Stetsasonic,
Technova,
Hoover,
Black Bananas,
Major Organ And The Adding Machine,
Heaven 17,
Gil Scott Heron,
Theoretical Girls,
The Offenders,
Motorama,
Vladislav Delay,
The Misunderstood,
Terry Callier,
Drexciya,
The Moleskins,
Sight & Sound,
Pole,
The Five Americans,
Erasure,
Laurel Aitken,
The Alarm Clocks,
Bluetip,
MDC,
The Dirtbombs,
Arcadia,
Groovy Waters,
Peter & Gordon,
Notorious BIG live in Amsterdam,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.