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 Sri Lanka and from Manchester.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Leonard Cohen to the grunge 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 Darondo. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Kool Moe Dee,
Dark Day,
Lucky Dragons,
Bill Near,
Red Lorry Yellow Lorry,
Lee Hazlewood,
Lizzy Mercier Descloux,
Livin' Joy,
Marine Girls,
Jeru the Damaja,
Moby Grape,
Aural Exciters,
Pantaleimon,
The Misunderstood,
James Chance & The Contortions,
Black Sheep,
Cameo,
Pole,
Alphaville,
Harmonia,
Rosa Yemen,
Mr. Review,
The Invisible,
Grauzone,
Freddie Wadling,
The Evens,
Television,
The J.B.'s,
Avey Tare & Kría Brekkan,
Scratch Acid,
The Alarm Clocks,
A Flock of Seagulls,
Brass Construction,
Pere Ubu,
Icehouse,
Masters at Work,
Organ,
Soft Machine,
John Lydon,
Shoche,
The Birthday Party,
Suburban Knight,
Monolake,
Minor Threat,
The Last Poets,
Sam Rivers,
Lungfish,
Essential Logic,
Sun Ra Arkestra,
T. Rex,
Todd Terry,
Erasure,
Bronski Beat,
Kerri Chandler,
Radio Birdman,
The Searchers,
Traffic Nightmare,
Hasil Adkins,
Peter Gordon & Love of Life Orchestra,
Fluxion,
Arthur Verocai,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.