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 El Salvador and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1963 to 1974.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Portland 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 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 Unwound to the funk kids.
I played it at the Crocodile.
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 Minny Pops. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Warsaw 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
U.S. Maple,
Royal Trux,
Blake Baxter,
Bobbi Humphrey,
Young Marble Giants,
48th St. Collective,
Heaven 17,
Soft Cell,
Ossler,
Little Man,
Nico,
Throbbing Gristle,
Sound Behaviour,
Louis and Bebe Barron,
Qualms,
Icehouse,
Sandy B,
Fear,
James White and The Blacks,
Robert Wyatt,
The Modern Lovers,
The Red Krayola,
Saccharine Trust,
Dennis Brown,
The Residents,
Ohio Players,
Camron Feat. Memphis Bleek And Beenie Seigel,
Idris Muhammad,
Archie Shepp,
Babytalk,
The Five Americans,
the Slits,
Moebius,
Lakeside,
Eli Mardock,
Gang Green,
Funkadelic,
Barry Ungar,
Gang of Four,
The Techniques,
Grauzone,
Ituana,
The United States of America,
Isaac Hayes,
Hasil Adkins,
The Fugs,
Lou Reed & Metallica,
Ultravox,
Soft Machine,
D'Angelo,
T.S.O.L.,
Kool Moe Dee,
The Blues Magoos,
Visage,
The Last Poets,
Eric Dolphy,
Grandmaster Flash and the Furious Five,
Trumans Water,
Aaron Thompson,
the Soft Cell,
Ronan, Ronan, Ronan, Ronan.
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.