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 Andorra and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when Robert Palmer 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 Neil Young & Crazy Horse to the rap kids.
I played it at the Spitz.
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 June Days. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
the Soft Cell,
Fat Boys,
Freddie Wadling,
Terry Callier,
Aural Exciters,
Gil Scott Heron,
The Litter,
The Cramps,
Avey Tare's Slasher Flicks,
The Index,
Deutsch Amerikanische Freundschaft,
Letta Mbulu,
Janne Schatter,
Young Marble Giants,
Ultravox,
Saccharine Trust,
Johnny Clarke,
Gang Gang Dance,
Agitation Free,
Motorama,
Flash Fearless,
Yazoo,
New Age Steppers,
The Grass Roots,
The Gories,
The Walker Brothers,
Marmalade,
Derrick Morgan,
Bang On A Can,
Q and Not U,
Wighnomy Brothers & Robag Wruhme,
Major Organ And The Adding Machine,
Drive Like Jehu,
Brass Construction,
EPMD,
Sonic Youth,
Nation of Ulysses,
Cybotron,
Pulsallama,
Terror Squad Feat. Camron,
Boredoms,
Peter and Kerry,
Faust,
Echospace,
Ultra Naté,
Marine Girls,
Blossom Toes,
The Monochrome Set,
Fort Wilson Riot,
Sight & Sound,
John Foxx,
Vainqueur,
Electric Prunes,
Sly & The Family Stone,
Fela Kuti,
Bill Near,
Metal Thangz,
the Slits,
Siouxsie and the Banshees,
The Angels of Light,
Sonny Sharrock,
Soul II Soul,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.