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 Namibia and from Copenhagen.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Mumbai 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Rowland S Howard / Lydia Lunch to the rock kids.
I played it at Cafe Wha.
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 Dawn Penn. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Eric Dolphy 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Underground Resistance,
Scan 7,
Brand Nubian,
The Red Krayola,
Darondo,
Ohio Players,
Yazoo,
Angry Samoans,
Con Funk Shun,
Grauzone,
Surgeon,
Dual Sessions,
Peter & Gordon,
Das Ding,
The Mummies,
Isaac Hayes,
Marvin Gaye,
Section 25,
The Grass Roots,
Kool Moe Dee,
the Association,
Sound Behaviour,
Lonnie Liston Smith,
Lungfish,
Stockholm Monsters,
Ituana,
The Alarm Clocks,
Mantronix,
Tommy Roe,
The Last Poets,
Pantytec,
Sällskapet,
The Music Machine,
Glenn Branca,
Mad Mike,
Bobby Hutcherson,
The Mojo Men,
Thinking Fellers Union Local 282,
Black Moon,
Wings,
Shoche,
The Divine Comedy,
Jacob Miller,
Ultramagnetic MC's,
Strawberry Alarm Clock,
Janne Schatter,
The Dirtbombs,
The Buckinghams,
The Leaves,
Eric Dolphy,
John Lydon,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Can,
Bootsy Collins,
The Blues Magoos,
Country Joe & The Fish,
Dawn Penn,
Jerry's Kids,
Wolf Eyes,
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.