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 Swaziland and from Hong Kong.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Beijing and London.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Zeros to the electroclash kids.
I played it at the 40 Watt.
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 The Durutti Column. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Mad Mike 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 '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Stereo Dub,
Ultra Naté,
Skaos,
Visionaries,LMNO, T- Love & Iriscience,
Mad Mike,
Bang on a Can All-Stars,
Marc Almond,
The Electric Prunes,
DJ Sneak,
Boredoms,
Stiv Bators,
The Blackbyrds,
Lou Reed & John Cale,
Juan Atkins,
The Music Machine,
The Associates,
the Human League,
Wings,
Fluxion,
Susan Cadogan,
Yaz,
Spandau Ballet,
David Axelrod,
John Holt,
Von Mondo,
CMW,
Delta 5,
Marine Girls,
Cal Tjader,
Major Organ And The Adding Machine,
Crime,
Wighnomy Brothers & Robag Wruhme,
JFA,
The Flesh Eaters,
DNA,
Visage,
Dawn Penn,
Eric Copeland,
Scion,
The Remains,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Blancmange,
Erasure,
Jacob Miller,
Scratch Acid,
Section 25,
Avey Tare & Kría Brekkan,
Main Source,
Black Sheep,
Brand Nubian,
Public Image Ltd.,
Shuggie Otis,
Ultramagnetic MC's,
U.S. Maple,
Davy DMX,
Vainqueur,
Nico,
Roxette,
The Buckinghams,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.