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 Czech Republic and from Stockholm.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Mumbai 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 Michael McDonald 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 Pet Shop Boys to the dance kids.
I played it at the 40 Watt.
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 Deadbeat. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Colin Newman,
The American Breed,
Kevin Saunderson,
Terrestrial Tones,
Gil Scott-Heron and Jamie xx,
June of 44,
R.M.O.,
Eli Mardock,
Lou Christie,
Ossler,
Maurizio,
Bill Near,
London Community Gospel Choir,
Man Eating Sloth,
Stereo Dub,
Siouxsie and the Banshees,
The Detroit Cobras,
Lightning Bolt,
Ultramagnetic MC's,
Minor Threat,
Franke,
Vladislav Delay,
Kenny Larkin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang of Four,
Gabor Szabo,
Ken Boothe,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
Sun Ra Arkestra,
Country Teasers,
Matthew Halsall,
Fort Wilson Riot,
Scion,
Liliput,
Nik Kershaw,
ABC,
Make Up,
The Electric Prunes,
Albert Ayler,
Henry Cow,
Public Image Ltd.,
Wighnomy Brothers & Robag Wruhme,
Barbara Tucker,
Banda Bassotti,
A Certain Ratio,
Radiohead,
Warsaw,
Wally Richardson,
The Grass Roots,
The Cure,
Freddie Wadling,
These Immortal Souls,
Girls At Our Best!,
Ten City,
PIL,
Sticky Fingaz feat. Raekwon,
Neu!,
Theoretical Girls,
Ituana, Ituana, Ituana, Ituana.
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.