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 Guinea and from Johannesburg.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Fort Wilson Riot to the jazz 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Smog,
Marc Almond,
The Sisters of Mercy,
Roy Ayers Ubiquity,
Soft Machine,
Gichy Dan,
Tomorrow,
Lungfish,
Strawberry Alarm Clock,
Minor Threat,
Lou Reed,
Kerrie Biddell,
Deepchord,
New York Dolls,
Magazine,
Masters at Work,
Erykah Badu,
Royal Trux,
The Saints,
Funky Four + One,
A Flock of Seagulls,
Traffic Nightmare,
Ronan,
Red Lorry Yellow Lorry,
Banda Bassotti,
PIL,
Robert Hood,
Morten Harket,
the Soft Cell,
The Cure,
Audionom,
Donald Byrd,
Quando Quango,
The Real Kids,
Lakeside,
Pagans,
X-102,
the Normal,
Man Parrish,
Agent Orange,
The Gladiators,
Pantytec,
Grey Daturas,
Swell Maps,
Flipper,
Peter & Gordon,
Nick Cave & The Bad Seeds,
Röyhkä ja Rättö ja Lehtisalo,
Rhythm & Sound,
The Invisible,
Ice-T,
The Chocolate Watch Band,
Archie Shepp,
Simply Red,
Ultra Naté,
Jeff Lynne,
Symarip,
The Five Americans,
Scott Walker,
Janne Schatter,
Chris Corsano,
8 Eyed Spy,
Swans, Swans, Swans, Swans.
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.