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 Palau and from Bologna.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 chamberlin 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 Traffic Nightmare to the grime kids.
I played it at the Hacienda.
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 Gregory Isaacs. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
James White and The Blacks,
Gang Gang Dance,
Kaleidoscope,
Pere Ubu,
In Retrospect,
Au Pairs,
Joy Division,
Altered Images,
The Birthday Party,
Drexciya,
Lou Reed,
E-Dancer,
The Move,
The Busters,
The Victims,
UT,
Sister Nancy,
Carl Craig,
Roger Hodgson,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
the Association,
Soft Cell,
The Mojo Men,
Howard Jones,
Anthony Braxton,
The Sisters of Mercy,
Lalo Schifrin,
The Modern Lovers,
Angels of Light & Akron/Family,
Underground Resistance,
John Holt,
Slave,
Lyres,
Silicon Teens,
Ituana,
Sarah Menescal,
AZ,
Ajijia Myrayebe,
The Star Department,
Radio Birdman,
OOIOO,
Todd Terry,
David McCallum,
Max Romeo,
The Tremeloes,
Kerri Chandler,
Joey Negro,
Reagan Youth,
Negative Approach,
Unwound,
Lightning Bolt,
Circle Jerks,
Malaria!,
Moebius,
Nico,
The Alarm Clocks,
The Residents, The Residents, The Residents, The Residents.
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.