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 Mongolia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 oboe 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 Monolake to the techno kids.
I played it at the Astoria.
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 Howard Jones. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Dark Day record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Skriet,
Pantytec,
Bootsy Collins,
Electric Prunes,
Sam Rivers,
Sexual Harrassment,
Lakeside,
The Names,
Desert Stars,
Marshall Jefferson,
a-ha,
Fatback Band,
Anthony Braxton,
Altered Images,
Magma,
The Saints,
Kool Moe Dee,
Red Lorry Yellow Lorry,
Rakim,
Bill Wells,
Kaleidoscope,
Colin Newman,
The Misunderstood,
Interpol,
Mad Mike,
Sandy B,
Slave,
Sun Ra,
Rites of Spring,
Procol Harum,
The Golliwogs,
Fluxion,
Pet Shop Boys,
James Chance & The Contortions,
Model 500,
Bluetip,
Lebanon Hanover,
Blake Baxter,
Royal Trux,
Crispy Ambulance,
Matthew Bourne,
Maleditus Sound,
Angry Samoans,
Von Mondo,
Spandau Ballet,
Lizzy Mercier Descloux,
The Vogues,
Public Image Ltd.,
Country Teasers,
Mary Jane Girls,
Agent Orange,
Derrick Morgan,
Terrestrial Tones,
Boogie Down Productions,
The Alarm Clocks,
Lightning Bolt,
Drive Like Jehu,
Sly & The Family Stone,
The Pop Group,
Ultimate Spinach,
Juan Atkins,
Robert Hood,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.