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 Argentina and from Lille.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Bootsy's Rubber Band to the jazz 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 Faraquet. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
The Sonics,
Lou Christie,
Qualms,
Lucky Dragons,
Sight & Sound,
Deepchord,
Yazoo,
Gastr Del Sol,
Throbbing Gristle,
Wire,
The Neon Judgement,
Talk Talk,
Ultra Naté,
Marine Girls,
Skriet,
Lower 48,
Oppenheimer Analysis,
Eli Mardock,
Lou Reed & Metallica,
Manfred Mann's Earth Band,
Flash Fearless,
Gregory Isaacs,
Kango’s Stein Massive,
Spandau Ballet,
Janne Schatter,
Gong,
Larry & the Blue Notes,
Kool G Rap & DJ Polo,
Von Mondo,
Zapp,
The Walker Brothers,
Black Sheep,
Little Man,
Livin' Joy,
B.T. Express,
Faust,
Bauhaus,
Amon Düül II,
Fugazi,
Unrelated Segments,
Kings Of Tomorrow,
Cal Tjader,
Visionaries,LMNO, T- Love & Iriscience,
The Toasters,
The Black Dice,
Roxy Music,
Motorama,
The Dead C,
Bobby Hutcherson,
The Fugs,
Lou Reed,
Kauko Röyhkä ja Narttu,
Das Ding,
Robert Görl,
Quando Quango,
Fela Kuti,
MDC,
Derrick May,
Kenny Larkin,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.