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 Kiribati and from Madrid.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 EPMD to the punk 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 The Move. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Echo & the Bunnymen,
Drexciya,
the Human League,
MC5,
Blossom Toes,
De La Soul & Jungle Brothers,
The Techniques,
The Angels of Light,
Lou Reed,
The Slackers,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
Tommy Roe,
B.T. Express,
Sonic Youth,
Adolescents,
The Skatalites,
June Days,
Dave Gahan,
Peter & Gordon,
Main Source,
Electric Prunes,
Country Joe & The Fish,
LL Cool J,
The Barracudas,
Bobby Byrd,
Pantaleimon,
Newcleus,
Colin Newman,
David McCallum,
Rosa Yemen,
Letta Mbulu,
Judy Mowatt,
The Gun Club,
Interpol,
Intrusion,
Public Image Ltd.,
Oblivians,
Barbara Tucker,
Tomorrow,
Tres Demented,
Visionaries,LMNO, T- Love & Iriscience,
Scott Walker,
The Cramps,
Tom Boy,
Davy DMX,
Joey Negro,
Bang On A Can,
Underground Resistance,
Khruangbin,
The Zeros,
Kango’s Stein Massive,
the Fania All-Stars,
Rekid,
Ronan,
The Monks,
Dr. Dre and Snoop Doggy Dog,
Franke,
Magazine,
the Soft Cell,
The Black Dice,
Subhumans,
Blancmange, Blancmange, Blancmange, Blancmange.
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.