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 Kiribati and from Madrid.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Sällskapet to the punk kids.
I played it at the Hacienda.
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 Robert Hood. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal rock 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Louis and Bebe Barron,
Black Bananas,
The Stooges,
Rowland S Howard / Lydia Lunch,
Arcadia,
The Young Rascals,
The Gories,
Soft Cell,
The Happenings,
Man Parrish,
Easy Going,
Ohio Players,
In Retrospect,
Jacques Brel,
The United States of America,
Quadrant,
Absolute Body Control,
Man Eating Sloth,
One Last Wish,
Faust,
Bang on a Can All-Stars,
Scion,
Röyhkä ja Rättö ja Lehtisalo,
the Association,
Cabaret Voltaire,
Grauzone,
The Grass Roots,
Japan,
Model 500,
Super Lover Cee & Casanova Rud,
AZ,
Joensuu 1685,
Notorious Big And Bone Thugs,
Gil Scott Heron,
Harpers Bizarre,
Camouflage,
Clear Light,
Rotary Connection,
Bad Manners,
Pulsallama,
Thinking Fellers Union Local 282,
Iggy Pop,
Albert Ayler,
Unwound,
Sly & The Family Stone,
Electric Prunes,
Icehouse,
Zero Boys,
Sticky Fingaz feat. Raekwon,
The Birthday Party,
Ituana,
Mad Mike,
Scan 7,
Terrestrial Tones,
Notorious BIG live in Amsterdam,
The Martian,
Audionom,
Pantytec,
Pharaoh Sanders and the Fire Engines,
Blancmange,
The Last Poets,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.