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 Moldova and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Woodstock 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Dual Sessions to the jazz kids.
I played it at the Crocodile.
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 H. Thieme. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every The Fall 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
A Certain Ratio,
Rahsaan Roland Kirk,
Eric B and Rakim,
Bang On A Can,
Ohio Players,
Lou Reed & John Cale,
Duran Duran,
Tom Boy,
Isaac Hayes,
Yaz,
Liliput,
The Modern Lovers,
Joe Smooth,
Marmalade,
FM Einheit,
Lungfish,
Spandau Ballet,
Desert Stars,
Dark Day,
Kayak,
Bobby Sherman,
Delta 5,
Icehouse,
Throbbing Gristle,
Heavy D & The Boyz,
Eve St. Jones,
Tropical Tobacco,
DJ Style,
Harpers Bizarre,
Sunsets and Hearts,
Super Lover Cee & Casanova Rud,
Byron Stingily,
Royal Trux,
Sun Ra,
Cymande,
Matthew Bourne,
Crash Course in Science,
Rowland S Howard / Lydia Lunch,
Dennis Brown,
Easy Going,
Ultramagnetic MC's,
Loose Ends,
Carl Craig,
Neu!,
The Flesh Eaters,
Sarah Menescal,
Bootsy's Rubber Band,
Cal Tjader,
Gastr Del Sol,
Harmonia,
Scrapy,
UT,
Infiniti,
The Peanut Butter Conspiracy,
The Doobie Brothers,
Average White Band,
Glenn Branca,
Eyeless In Gaza,
The Index,
PIL, PIL, PIL, PIL.
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.