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 Belgium and from Spokane.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Cairo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ 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 Unrelated Segments to the funk kids.
I played it at the Spitz.
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 Pere Ubu. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Gong,
Desert Stars,
Matthew Halsall,
Royal Trux,
The Happenings,
Barclay James Harvest,
The Chocolate Watch Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arthur Verocai,
X-Ray Spex,
Kool G Rap & DJ Polo,
The Mummies,
Radiopuhelimet,
Skriet,
Japan,
Gian Franco Pienzio,
Moby Grape,
The Invisible,
The Dave Clark Five,
Public Enemy,
Ohio Players,
The Divine Comedy,
Rites of Spring,
Newcleus,
Youth Brigade,
Bootsy Collins,
Marshall Jefferson,
R.M.O.,
Maleditus Sound,
Section 25,
Morten Harket,
Larry & the Blue Notes,
Rowland S Howard / Lydia Lunch,
Bobby Hutcherson,
Swell Maps,
The Wake,
The Star Department,
The Blackbyrds,
The Moody Blues,
Rufus Thomas,
DJ Style,
Depeche Mode,
Arcadia,
The Saints,
Stereo Dub,
The Velvet Underground,
Mark Hollis,
Blossom Toes,
Isaac Hayes,
L. Decosne,
Fifty Foot Hose,
Eli Mardock,
Ultravox,
World's Most,
Duran Duran,
Junior Murvin,
Bob Dylan,
Ultramagnetic MC's,
Bronski Beat,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.