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 Djibouti and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Pierre Henry to the electroclash kids.
I played it at CBGB's.
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 Reagan Youth. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
The Durutti Column,
Fat Boys,
The Music Machine,
Jeff Mills,
E-Dancer,
The Pop Group,
Can,
10cc,
The Index,
The Offenders,
the Swans,
Röyhkä ja Rättö ja Lehtisalo,
Brick,
Aaron Thompson,
Ash Ra Tempel,
Cymande,
DNA,
Ossler,
Jawbox,
The Tremeloes,
The Smoke,
Swans,
Rod Modell,
The Selecter,
The Fugs,
David Axelrod,
Sonny Sharrock,
Black Flag,
Bluetip,
Tears for Fears,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Human League,
Minutemen,
Saccharine Trust,
Juan Atkins,
Ultravox,
Oblivians,
Pylon,
Hashim,
Bush Tetras,
Hardrive,
Deakin,
Cecil Taylor,
Lou Reed & Metallica,
Masters at Work,
Pagans,
Orchestral Manoeuvres in the Dark,
The Skatalites,
Nick Fraelich,
Gian Franco Pienzio,
Sex Pistols,
Skaos,
The Chocolate Watch Band,
New Order,
Chris & Cosey,
Pantytec,
China Crisis,
Boredoms, Boredoms, Boredoms, Boredoms.
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.