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 Rwanda and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Calgary.
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 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 Holger Czukay 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 Lou Reed & Metallica to the techno kids.
I played it at the Astoria.
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 Spandau Ballet. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thinking Fellers Union Local 282 record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Boogie Down Productions,
Cheater Slicks,
Darondo,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Alton Ellis,
Kool G Rap & DJ Polo,
Pharaoh Sanders and the Fire Engines,
Los Fastidios,
B.T. Express,
The Sisters of Mercy,
Bobbi Humphrey,
Major Organ And The Adding Machine,
The Busters,
The Flesh Eaters,
Roxy Music,
MDC,
Flash Fearless,
The Gladiators,
The Electric Prunes,
Mr. Review,
Japan,
Sound Behaviour,
Hasil Adkins,
Can,
John Holt,
Funky Four + One,
Lindisfarne,
Louis and Bebe Barron,
Cal Tjader,
Von Mondo,
Outsiders,
Brick,
Moss Icon,
Drive Like Jehu,
Tom Boy,
Ralphi Rosario,
Ituana,
Eli Mardock,
Janne Schatter,
Gerry Rafferty,
Don Cherry,
The Invisible,
Bauhaus,
The United States of America,
Reuben Wilson,
Amon Düül II,
Drexciya,
Gang Starr,
Neil Young & Crazy Horse,
Jeff Lynne,
Thompson Twins,
Boz Scaggs,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Malaria!,
London Community Gospel Choir,
Ultravox,
Vaughan Mason & Crew,
EPMD,
Hot Snakes,
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.