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 Philippines and from Calgary.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Absolute Body Control to the crunk kids.
I played it at the Spitz.
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 The Kinks. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal disco 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Essential Logic,
Cabaret Voltaire,
Jeru the Damaja,
Infiniti,
Shoche,
Tommy Roe,
The Monks,
Skarface,
F. McDonald,
The Sisters of Mercy,
The Standells,
John Foxx,
A Certain Ratio,
The Evens,
Art Ensemble Of Chicago,
Colin Newman,
The Black Dice,
Stetsasonic,
Accadde A,
This Heat,
Von Mondo,
H. Thieme,
Silicon Teens,
Larry & the Blue Notes,
One Last Wish,
Fear,
Sugar Minott,
Erykah Badu,
The Selecter,
Juan Atkins,
Black Pus,
The Gap Band,
The Music Machine,
Grauzone,
Unrelated Segments,
Theoretical Girls,
Gastr Del Sol,
Stereo Dub,
Siglo XX,
Selector Dub Narcotic,
Stockholm Monsters,
Agitation Free,
Niagra,
Japan,
Gil Scott-Heron and Jamie xx,
Ronnie Foster,
Rhythim Is Rhythim,
Al Stewart,
Quantec,
The Velvet Underground,
The Motions,
K-Klass,
Metal Thangz,
the Soft Cell,
Röyhkä ja Rättö ja Lehtisalo,
Delta 5,
Bronski Beat,
Steve Hackett,
Pharoah Sanders,
Lee Hazlewood,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.