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 Brazil and from Bologna.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Joy Division to the grunge 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 FM Einheit. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Vaughan Mason & Crew,
Blancmange,
Alison Limerick,
The Tremeloes,
The Fall,
Bad Manners,
Rufus Thomas,
James Chance & The Contortions,
Strawberry Alarm Clock,
Amazonics,
Michelle Simonal,
Aural Exciters,
Glenn Branca,
Notorious Big And Bone Thugs,
Mr. Review,
The Remains,
Buzzcocks,
The Slackers,
Red Lorry Yellow Lorry,
Fad Gadget,
The Birthday Party,
Althea and Donna,
Deadbeat,
Crispian St. Peters,
Eric Dolphy,
The Chocolate Watch Band,
The Detroit Cobras,
Anakelly,
The Red Krayola,
Scion,
Larry & the Blue Notes,
Vainqueur,
The Toasters,
Neil Young,
Jandek,
The Leaves,
Crime,
Stockholm Monsters,
The Velvet Underground,
Sixth Finger,
Nas,
Susan Cadogan,
Erasure,
Johnny Osbourne,
The Alarm Clocks,
Ken Boothe,
Kayak,
Joyce Sims,
The Raincoats,
The Blackbyrds,
the Association,
Con Funk Shun,
Jawbox,
Index,
Andrew Ashong & Theo Parrish,
Aswad,
Freddie Wadling,
Stiv Bators,
Parry Music,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.