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 Portugal and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Kurtis Blow to the techno kids.
I played it at the Hacienda.
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 Bobby Hutcherson. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
The Angels of Light,
Ultimate Spinach,
Stiv Bators,
June of 44,
Public Image Ltd.,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
John Cale,
Lindisfarne,
Stereo Dub,
David Bowie,
Eric Copeland,
Nas,
Clear Light,
Kango’s Stein Massive,
Interpol,
Gong,
Zero Boys,
Byron Stingily,
The Cowsills,
The Moleskins,
Dave Gahan,
Bush Tetras,
Severed Heads,
Andrew Ashong & Theo Parrish,
Lee Hazlewood,
Urselle,
Ituana,
Essential Logic,
Jesper Dahlbäck,
the Sonics,
The J.B.'s,
The Durutti Column,
MC5,
Goldenarms,
Terrestrial Tones,
L. Decosne,
Derrick May,
Crash Course in Science,
Johnny Clarke,
Suicide,
MDC,
Boredoms,
James Chance & The Contortions,
Rosa Yemen,
These Immortal Souls,
Delon & Dalcan,
Peter & Gordon,
Nirvana,
Monolake,
Joyce Sims,
Gerry Rafferty,
Sonic Youth,
Anakelly,
Hasil Adkins,
Susan Cadogan,
Ash Ra Tempel,
David Axelrod,
Harpers Bizarre,
UT,
The Vogues,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.