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 Ivory Coast and from London.
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 1971.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Gary Puckett & The Union Gap to the rap kids.
I played it at the Roxy.
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 Tommy Roe. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Yellowson,
Gil Scott Heron,
The United States of America,
Moebius,
Mandrill,
The Fall,
Fluxion,
Faraquet,
John Foxx,
Young Marble Giants,
Gong,
Motorama,
Lalann,
New Age Steppers,
The Pop Group,
The Saints,
Crispian St. Peters,
Kaleidoscope,
The Index,
Sight & Sound,
The Techniques,
Nico,
Heavy D & The Boyz,
The Sound,
Popol Vuh,
Khruangbin,
8 Eyed Spy,
Schoolly D,
The Vogues,
Loose Ends,
Eurythmics,
Thompson Twins,
Anthony Braxton,
Junior Murvin,
La Düsseldorf,
Moby Grape,
Ponytail,
Joensuu 1685,
Ultimate Spinach,
Sun Ra,
Sly & The Family Stone,
Liaisons Dangereuses,
Hot Snakes,
The Music Machine,
A Certain Ratio,
48th St. Collective,
The Names,
Matthew Halsall,
The Evens,
The Doobie Brothers,
Black Moon,
Danielle Patucci,
Public Image Ltd.,
The Alarm Clocks,
Judy Mowatt,
Surgeon,
Neu!,
Kerri Chandler,
Warren Ellis,
Jimmy McGriff,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.