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 Tajikistan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Taipei and Lyon.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Throbbing Gristle 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 Magma. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Minutemen,
Bush Tetras,
Electric Light Orchestra,
Rekid,
Jawbox,
The Residents,
Newcleus,
Stereo Dub,
Magma,
Rosa Yemen,
Joensuu 1685,
The Misunderstood,
Vladislav Delay,
Absolute Body Control,
Joe Smooth,
The Skatalites,
Wire,
Harpers Bizarre,
X-101,
Oblivians,
a-ha,
PIL,
Kauko Röyhkä ja Narttu,
Marmalade,
Pagans,
Technova,
Bill Wells,
The Evens,
Yaz,
Orchestral Manoeuvres in the Dark,
Hardrive,
Supertramp,
Flipper,
Sly & The Family Stone,
The Mojo Men,
DNA,
Louis and Bebe Barron,
Mantronix,
Nas,
Eden Ahbez,
The Victims,
Vainqueur,
Roy Ayers Ubiquity,
Peter Gordon & Love of Life Orchestra,
James Chance & The Contortions,
Jeff Lynne,
Matthew Bourne,
Johnny Osbourne,
Lou Reed,
John Foxx,
Depeche Mode,
Pulsallama,
Wings,
Public Enemy,
U.S. Maple,
Excepter,
Alice Coltrane,
the Sonics, the Sonics, the Sonics, the Sonics.
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.