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 Liberia and from Taipei.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Calgary.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 James Chance & The Contortions to the crunk kids.
I played it at the Astoria.
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 Fifty Foot Hose. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your theremin and bought a theremin.
I hear that you and your band have sold your theremin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Rowland S Howard / Lydia Lunch,
Chris & Cosey,
Mantronix,
Heavy D & The Boyz,
Sex Pistols,
Model 500,
Ronnie Foster,
Ronan,
Monks,
Dorothy Ashby,
Trumans Water,
The Gap Band,
John Coltrane,
The Fortunes,
Traffic Nightmare,
The Grass Roots,
Black Moon,
Cecil Taylor,
Harry Pussy,
H. Thieme,
Lalann,
The Monochrome Set,
Dawn Penn,
Joe Smooth,
The Count Five,
Kauko Röyhkä ja Narttu,
Agent Orange,
Tomorrow,
Warren Ellis,
Sparks,
Pierre Henry,
Gary Puckett & The Union Gap,
Motorama,
DJ Sneak,
Country Joe & The Fish,
The Offenders,
Eric B and Rakim,
Talk Talk,
Brick,
Television Personalities,
Piero Umiliani,
Funkadelic,
Sällskapet,
Public Image Ltd.,
Tom Boy,
Davy DMX,
The Residents,
DeepChord presents Echospace,
Pantaleimon,
Lizzy Mercier Descloux,
Harpers Bizarre,
Procol Harum,
Deutsch Amerikanische Freundschaft,
Marc Romboy vs. Booka Shade,
Kas Product,
Gil Scott Heron,
Blancmange,
Lee Hazlewood,
Marc Almond,
Angry Samoans,
Soft Cell,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.