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 Libya and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Bremen 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Talk Talk to the grime kids.
I played it at the Troubador.
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 Marc Almond. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Larry & the Blue Notes,
The Remains,
Eric Copeland,
Josef K,
Agitation Free,
Slick Rick,
The New Christs,
the Fania All-Stars,
Flash Fearless,
Stereo Dub,
Angels of Light & Akron/Family,
Monks,
Gil Scott-Heron and Jamie xx,
World's Most,
Cameo,
EPMD,
Ultravox,
Marmalade,
Kerrie Biddell,
Radio Birdman,
The Slackers,
the Germs,
The Techniques,
Zero Boys,
Chrome,
JFA,
Yazoo,
Jeff Mills,
Excepter,
Goldenarms,
Grandmaster Flash,
Avey Tare's Slasher Flicks,
Bronski Beat,
Eric Dolphy,
Sun Ra Arkestra,
Rufus Thomas,
Masters at Work,
Dark Day,
Roger Hodgson,
Pharoah Sanders,
Make Up,
Rapeman,
Newcleus,
Lizzy Mercier Descloux,
Todd Rundgren,
Steve Hackett,
The Standells,
Selector Dub Narcotic,
Kango’s Stein Massive,
David McCallum,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
Roxy Music,
Bill Wells,
The Sisters of Mercy,
Bob Dylan,
Pulsallama,
Siouxsie and the Banshees,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.