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 Ireland and from Mexico City.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Trojans to the crunk kids.
I played it at the Roxy.
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 Sister Nancy. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Liaisons Dangereuses,
The Gories,
Stiv Bators,
Amon Düül,
Soul Sonic Force,
The Misunderstood,
Fat Boys,
Easy Going,
Lafayette Afro Rock Band,
B.T. Express,
Outsiders,
Sparks,
Roxette,
Harry Pussy,
Brick,
Maleditus Sound,
Roy Ayers Ubiquity,
Yusef Lateef,
Kango’s Stein Massive,
Bill Wells,
the Swans,
FM Einheit,
Stockholm Monsters,
Little Man,
Unrelated Segments,
Nils Olav,
Frankie Knuckles,
Jeff Lynne,
the Germs,
Siglo XX,
Grey Daturas,
Eve St. Jones,
Pulsallama,
The Searchers,
Charles Mingus,
Jimmy McGriff,
Avey Tare & Kría Brekkan,
La Düsseldorf,
Cecil Taylor,
Teenage Jesus and the Jerks,
the Fania All-Stars,
Robert Wyatt,
Audionom,
Connie Case,
Anakelly,
Graham Central Station,
Sun Ra Arkestra,
Sun City Girls,
Ronnie Foster,
Derrick Morgan,
Amon Düül II,
Saccharine Trust,
Pere Ubu,
Marc Almond,
Bad Manners,
Joe Finger,
The Blues Magoos,
The Techniques,
Louis and Bebe Barron,
Colin Newman,
Stereo Dub,
Hashim,
The Durutti Column,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.