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 Bhutan and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1978.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Mexico City 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 snare 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 Loose Ends to the electroclash 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 Average White Band. All the underground hits.
All The Index tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal dance 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 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 Scott Walker record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Lalann,
Rufus Thomas,
Harry Pussy,
The Chocolate Watch Band,
Cybotron,
David Axelrod,
Quando Quango,
Moss Icon,
Big Daddy Kane,
Kool Moe Dee,
Black Sheep,
The Slits,
Grauzone,
Ultra Naté,
Avey Tare's Slasher Flicks,
Todd Rundgren,
Pagans,
Shuggie Otis,
John Coltrane,
Bauhaus,
Ash Ra Tempel,
Sonic Youth,
Vaughan Mason & Crew,
Joy Division,
Derrick May,
Hoover,
K-Klass,
The Skatalites,
Unwound,
The Knickerbockers,
Joe Smooth,
World's Most,
The Litter,
The Motions,
Eric Dolphy,
The Tremeloes,
Delta 5,
Ice-T,
This Heat,
MDC,
Public Enemy,
Moebius,
Agent Orange,
Crispian St. Peters,
Cal Tjader,
Susan Cadogan,
Lou Reed,
The Jesus and Mary Chain,
Icehouse,
The Human League,
Morten Harket,
Thee Headcoats,
Pantaleimon,
Subhumans,
Lou Reed & Metallica,
Amon Düül,
Justin Hinds & The Dominoes,
Soft Cell,
Kerri Chandler,
Babytalk,
Archie Shepp,
Ossler, Ossler, Ossler, Ossler.
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.