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 El Salvador and from Houston.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Sugar Minott to the grime 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 Lalann. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Minor Threat,
The Martian,
The Angels of Light,
Johnny Osbourne,
Metal Thangz,
Scott Walker,
Neil Young & Crazy Horse,
H. Thieme,
The Names,
Mandrill,
Bill Wells,
The Victims,
Curtis Mayfield,
Kerrie Biddell,
This Heat,
Little Man,
Girls At Our Best!,
Fugazi,
The Monks,
Eric B and Rakim,
Ultravox,
the Fania All-Stars,
Mars,
The Litter,
John Coltrane,
B.T. Express,
Ronan,
Sad Lovers and Giants,
Jesper Dahlbäck,
Rhythim Is Rhythim,
The Cure,
Lyres,
Pharoah Sanders,
Louis and Bebe Barron,
Bad Manners,
Kauko Röyhkä ja Narttu,
Skriet,
The Real Kids,
Soft Machine,
Faust,
Cybotron,
LL Cool J,
Grandmaster Flash and the Furious Five,
Sugar Minott,
Can,
Jesper Dahlback,
Soul II Soul,
Khruangbin,
Essential Logic,
Jandek,
Richard Hell and the Voidoids,
Frankie Knuckles,
Surgeon,
Grauzone,
Shoche,
Bootsy Collins,
James White and The Blacks,
Blake Baxter,
Boogie Down Productions,
Masters at Work,
Throbbing Gristle,
Vaughan Mason & Crew,
Sound Behaviour,
Whodini,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.