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 Andorra and from Beijing.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Sarah Menescal to the rock kids.
I played it at the Troubador.
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 The Pretty Things. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Bauhaus,
Procol Harum,
Slave,
Shuggie Otis,
Ajijia Myrayebe,
One Last Wish,
Dorothy Ashby,
Ice-T,
The Neon Judgement,
The Shadows of Knight,
Oppenheimer Analysis,
Soft Machine,
Tres Demented,
Joy Division,
Red Lorry Yellow Lorry,
Connie Case,
Grey Daturas,
Agitation Free,
Barbara Tucker,
Massinfluence,
The Motions,
Peter & Gordon,
Popol Vuh,
The Mummies,
Gang Green,
Whodini,
cv313,
Avey Tare,
De La Soul & Jungle Brothers,
Marine Girls,
Aloha Tigers,
Gil Scott-Heron and Jamie xx,
Index,
The American Breed,
Strawberry Alarm Clock,
Lyres,
X-102,
The Cramps,
Lee Hazlewood,
Harpers Bizarre,
James White and The Blacks,
Curtis Mayfield,
Lightning Bolt,
Cabaret Voltaire,
Susan Cadogan,
The Offenders,
The Modern Lovers,
The Names,
Jandek,
Camouflage,
The Pop Group,
Soft Cell,
David Bowie,
World's Most,
Audionom,
The Vogues,
Arcadia,
The Angels of Light,
Kas Product, Kas Product, Kas Product, Kas Product.
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.