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 Andorra and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1978.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Madrid 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 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 The Offenders to the electroclash 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 the Slits. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Judy Mowatt,
Bootsy Collins,
Mr. Review,
EPMD,
Girls At Our Best!,
In Retrospect,
China Crisis,
The Human League,
La Düsseldorf,
Röyhkä ja Rättö ja Lehtisalo,
X-Ray Spex,
Ultra Naté,
Crispian St. Peters,
The Gladiators,
Sugar Minott,
Crooked Eye,
Rapeman,
John Cale,
Scott Walker + Sunn O))),
Unrelated Segments,
Glenn Branca,
Byron Stingily,
Roy Ayers,
Lungfish,
Wings,
Notorious Big And Bone Thugs,
Alphaville,
Liliput,
Steve Hackett,
Boredoms,
H. Thieme,
Los Fastidios,
The Alarm Clocks,
Carl Craig,
Barrington Levy,
The Remains,
Connie Case,
Smog,
Main Source,
The Chocolate Watch Band,
Sad Lovers and Giants,
Gong,
Motorama,
Charles Mingus,
Kerri Chandler,
Eddi Front,
Wally Richardson,
Yusef Lateef,
Faust,
Roxy Music,
Bizarre Inc.,
Newcleus,
John Holt,
Mantronix,
Arthur Verocai,
Robert Wyatt,
Heaven 17,
Outsiders,
June Days,
John Lydon,
Freddie Wadling,
Juan Atkins,
Sam Rivers,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.