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 Panama and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Piero Umiliani to the rap kids.
I played it at the Troubador.
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 U.S. Maple. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Black Moon,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
Niagra,
Chris & Cosey,
Ohio Players,
The Gap Band,
Jesper Dahlback,
Silicon Teens,
Infiniti,
The Real Kids,
June of 44,
Porter Ricks,
Jeff Mills,
Easy Going,
Man Eating Sloth,
Sex Pistols,
The Trojans,
The Mummies,
Harmonia,
Sister Nancy,
Magazine,
Main Source,
Major Organ And The Adding Machine,
Derrick May,
Public Enemy,
Gil Scott-Heron and Jamie xx,
Alphaville,
The Tremeloes,
The Black Dice,
Buzzcocks,
Lalann,
Skriet,
The Move,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Urselle,
Lungfish,
The Moody Blues,
China Crisis,
The Detroit Cobras,
Loose Ends,
Jacques Brel,
Absolute Body Control,
Ronnie Foster,
The Velvet Underground,
Dual Sessions,
Glenn Branca,
Sarah Menescal,
Letta Mbulu,
Laurel Aitken,
Althea and Donna,
F. McDonald,
Procol Harum,
Spoonie Gee,
The Modern Lovers,
Tommy Roe,
Ten City,
Qualms,
Arthur Verocai,
Sandy B,
Altered Images, Altered Images, Altered Images, Altered Images.
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.