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 Gabon and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
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 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 Toni Rubio 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 Joyce Sims. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every kango's stein massive 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Masters at Work,
Rites of Spring,
Jerry's Kids,
Selector Dub Narcotic,
Groovy Waters,
Urselle,
The Skatalites,
Rosa Yemen,
Underground Resistance,
Hot Snakes,
The Real Kids,
Negative Approach,
The Royal Family And The Poor,
Heaven 17,
The New Christs,
Bill Wells,
Richard Hell and the Voidoids,
Chris Corsano,
Parry Music,
The Index,
Ornette Coleman,
John Cale,
Joy Division,
A Flock of Seagulls,
EPMD,
Tommy Roe,
New Age Steppers,
Easy Going,
Tomorrow,
Archie Shepp,
Throbbing Gristle,
Fort Wilson Riot,
Pet Shop Boys,
48th St. Collective,
Teenage Jesus and the Jerks,
Roy Ayers,
Godley & Creme,
Al Stewart,
Blake Baxter,
Deutsch Amerikanische Freundschaft,
Wire,
Television,
Eyeless In Gaza,
Oneida,
Kool Moe Dee,
Hasil Adkins,
The Misunderstood,
Skarface,
Main Source,
Nils Olav,
The Black Dice,
The Cosmic Jokers,
Glambeats Corp.,
Leonard Cohen,
Althea and Donna,
Agitation Free,
Cluster,
Camouflage,
Chris & Cosey,
the Fania All-Stars,
Steve Hackett,
Shoche,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.