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 Mauritius and from Tehran.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Accra 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 arpeggiator 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 Scratch Acid to the dance 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 Drive Like Jehu. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a 8 Eyed Spy record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
The Walker Brothers,
Urselle,
Gerry Rafferty,
Oppenheimer Analysis,
Section 25,
Lalo Schifrin,
The Wake,
The Slackers,
L. Decosne,
Nik Kershaw,
Flipper,
John Holt,
The Stooges,
Dawn Penn,
The Searchers,
Oneida,
The Fortunes,
Wings,
World's Most,
Judy Mowatt,
Nas,
Nation of Ulysses,
Lizzy Mercier Descloux,
Mr. Review,
X-101,
Swans,
Yaz,
Marine Girls,
Neil Young & Crazy Horse,
Funkadelic,
Magma,
Kauko Röyhkä ja Narttu,
Carl Craig,
Vainqueur,
Rowland S Howard / Lydia Lunch,
Porter Ricks,
Sällskapet,
Girls At Our Best!,
Aural Exciters,
Franke,
Drive Like Jehu,
Traffic Nightmare,
Tommy Roe,
Banda Bassotti,
Sexual Harrassment,
DJ Sneak,
Slick Rick,
Teenage Jesus and the Jerks,
Roy Ayers,
DNA,
Masters at Work,
Young Marble Giants,
The Litter,
8 Eyed Spy,
The Fire Engines,
Thinking Fellers Union Local 282,
The Monks,
The Offenders,
DeepChord presents Echospace,
Vaughan Mason & Crew,
T.S.O.L.,
Public Image Ltd.,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.