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 Thailand and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Salvador 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 The Happenings to the disco 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 E-Dancer. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Soft Cell 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 '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Visage,
Peter Gordon & Love of Life Orchestra,
Rod Modell,
Metal Thangz,
Toni Rubio,
The Sound,
Marcia Griffiths,
Alton Ellis,
The Young Rascals,
Peter and Kerry,
H. Thieme,
Teenage Jesus and the Jerks,
Banda Bassotti,
Kango’s Stein Massive,
Kevin Saunderson,
Easy Going,
The Monochrome Set,
Arcadia,
L. Decosne,
Richard Hell and the Voidoids,
The Fortunes,
the Germs,
Susan Cadogan,
Siglo XX,
Slave,
Louis and Bebe Barron,
Alison Limerick,
The Jesus and Mary Chain,
Cal Tjader,
A Certain Ratio,
Kayak,
Selector Dub Narcotic,
Freddie Wadling,
Camron Feat. Memphis Bleek And Beenie Seigel,
Vainqueur,
The Selecter,
Lou Reed & John Cale,
Faraquet,
Ten City,
Derrick May,
The J.B.'s,
Parry Music,
Make Up,
Iggy Pop,
Babytalk,
Rhythim Is Rhythim,
Kauko Röyhkä ja Narttu,
David Bowie,
Fugazi,
DJ Sneak,
Sun City Girls,
Smog,
Man Parrish,
Scott Walker,
The Kinks,
Kenny Larkin,
Rowland S Howard / Lydia Lunch,
Harpers Bizarre,
Agitation Free,
Gian Franco Pienzio,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.