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 Cyprus and from Madrid.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Milan 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Donny Hathaway to the grime kids.
I played it at the Crocodile.
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 Rites of Spring. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Tears for Fears 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 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Procol Harum,
The Monks,
Pulsallama,
Excepter,
Mantronix,
Michelle Simonal,
Aaron Thompson,
Camouflage,
Harmonia,
Desert Stars,
John Foxx,
Rhythm & Sound,
Ultravox,
The Walker Brothers,
James Chance & The Contortions,
Liaisons Dangereuses,
Delta 5,
Dave Gahan,
Suburban Knight,
The Names,
Japan,
Altered Images,
the Germs,
Joe Smooth,
Sun Ra Arkestra,
The Doobie Brothers,
Ten City,
Orchestral Manoeuvres in the Dark,
David Axelrod,
Quando Quango,
Sällskapet,
Gary Puckett & The Union Gap,
Anakelly,
The Index,
The United States of America,
The Trojans,
Depeche Mode,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
The Misunderstood,
Mr. Review,
Barclay James Harvest,
The Alarm Clocks,
The Real Kids,
Minor Threat,
The Birthday Party,
Avey Tare,
A Certain Ratio,
Black Sheep,
It's A Beautiful Day,
Black Flag,
Y Pants,
Art Ensemble Of Chicago,
Q and Not U,
Accadde A,
Sonic Youth,
MDC,
Warren Ellis,
Slick Rick,
Porter Ricks,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.