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 Thailand and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Sexual Harrassment to the rap kids.
I played it at the 40 Watt.
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 Jacques Brel. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Ituana,
Model 500,
Aural Exciters,
Jeff Mills,
Eric Dolphy,
Eli Mardock,
James Chance & The Contortions,
Kevin Saunderson,
The Pretty Things,
Lou Christie,
John Coltrane,
Glambeats Corp.,
The Standells,
Piero Umiliani,
Alphaville,
Pylon,
Talk Talk,
Amazonics,
Kurtis Blow,
Cheater Slicks,
Alton Ellis,
Cecil Taylor,
Faraquet,
Quando Quango,
Silicon Teens,
the Association,
the Human League,
Eurythmics,
The Offenders,
The Pop Group,
Intrusion,
The Monochrome Set,
Brothers Johnson,
John Lydon,
Liaisons Dangereuses,
Kool G Rap & DJ Polo,
Avey Tare,
The Cramps,
Wings,
Rahsaan Roland Kirk,
Ohio Players,
Theoretical Girls,
Peter Gordon & Love of Life Orchestra,
Mr. Review,
Radiohead,
Carl Craig,
Charles Mingus,
Siglo XX,
Kaleidoscope,
Eden Ahbez,
Tears for Fears,
The Barracudas,
X-Ray Spex,
Boredoms,
Vladislav Delay,
Dark Day,
The Birthday Party,
Scratch Acid,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.