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 Kuwait and from Tokyo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1978.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Technova to the grime kids.
I played it at Cafe Wha.
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 The Human League. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Slick Rick,
The Misunderstood,
Bronski Beat,
Jeff Mills,
Toni Rubio,
Japan,
Heavy D & The Boyz,
Grandmaster Flash,
Matthew Bourne,
A Certain Ratio,
Gregory Isaacs,
Young Marble Giants,
Faust,
Jandek,
CMW,
Barbara Tucker,
Severed Heads,
The Fire Engines,
Man Parrish,
Cybotron,
Mo-Dettes,
One Last Wish,
Piero Umiliani,
Lower 48,
Nico,
The Cure,
Lou Reed,
Anakelly,
The Smoke,
Sex Pistols,
Saccharine Trust,
Boogie Down Productions,
Gian Franco Pienzio,
Ultimate Spinach,
Arab on Radar,
Pantaleimon,
Eve St. Jones,
Danielle Patucci,
Traffic Nightmare,
UT,
Black Pus,
Prince Buster,
Notorious BIG live in Amsterdam,
Sällskapet,
Sonny Sharrock,
Lalann,
the Normal,
Throbbing Gristle,
Marshall Jefferson,
Shuggie Otis,
Quadrant,
Roxy Music,
Franke,
Soft Machine,
Lungfish,
Moss Icon,
The Men They Couldn't Hang,
Crime,
Bill Near,
The Red Krayola,
Josef K, Josef K, Josef K, Josef K.
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.