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 Solomon Islands and from Seoul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Manila.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Eve St. Jones to the jazz 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 Public Enemy. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry 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?
Peter & Gordon,
Nils Olav,
Joensuu 1685,
The Cure,
Radiohead,
Henry Cow,
Jeff Lynne,
Accadde A,
Little Man,
Donald Byrd,
The Stooges,
Davy DMX,
Richard Hell and the Voidoids,
Rhythim Is Rhythim,
Sonic Youth,
John Holt,
Joy Division,
The American Breed,
June Days,
T.S.O.L.,
the Soft Cell,
DNA,
the Human League,
Joe Smooth,
Brick,
B.T. Express,
Agent Orange,
Judy Mowatt,
The Dead C,
The Doors,
The Busters,
Grandmaster Flash,
Kerrie Biddell,
Roy Ayers,
Zapp,
the Fania All-Stars,
The Alarm Clocks,
Mary Jane Girls,
Selector Dub Narcotic,
Clear Light,
Organ,
Yaz,
Tres Demented,
Barclay James Harvest,
Lonnie Liston Smith,
Gil Scott Heron,
Arcadia,
Smog,
Pantaleimon,
Basic Channel,
Roxy Music,
Kaleidoscope,
Thompson Twins,
Morten Harket,
Liaisons Dangereuses,
Japan,
The Misunderstood,
Aaron Thompson,
The Names, The Names, The Names, The Names.
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.