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 Albania and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1971.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 The Mummies to the disco 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 Susan Cadogan. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Qualms,
Crispy Ambulance,
Jesper Dahlbäck,
James White and The Blacks,
Ultra Naté,
Agitation Free,
Ralphi Rosario,
Ken Boothe,
Johnny Clarke,
Robert Görl,
Massinfluence,
Ossler,
The Mojo Men,
the Sonics,
Hoover,
Notorious BIG live in Amsterdam,
Shoche,
Joyce Sims,
MC5,
Crooked Eye,
Ice-T,
This Heat,
Nation of Ulysses,
Kas Product,
Fear,
Smog,
Rhythm & Sound,
David Axelrod,
Davy DMX,
The Blues Magoos,
Avey Tare,
Laurel Aitken,
Arcadia,
X-101,
Jacques Brel,
Juan Atkins,
Fifty Foot Hose,
Absolute Body Control,
The Star Department,
Tears for Fears,
Susan Cadogan,
Cluster,
Magazine,
Lalo Schifrin,
Spandau Ballet,
The Evens,
Cameo,
Sound Behaviour,
The Doobie Brothers,
Average White Band,
Kauko Röyhkä ja Narttu,
Mantronix,
Lebanon Hanover,
Jesper Dahlback,
The Gladiators,
Flamin' Groovies,
Depeche Mode,
Country Teasers,
Ohio Players,
The Sound,
Soft Machine,
Kaleidoscope,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.