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 Somalia and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
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 marimba sounds with much patience.
I was there when Holger Czukay 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 Aaron Thompson to the techno 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 Visage. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every The Zeros 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Grandmaster Flash and the Furious Five,
The Durutti Column,
Joyce Sims,
La Düsseldorf,
Richard Hell and the Voidoids,
Talk Talk,
The Searchers,
Charles Mingus,
Section 25,
Rufus Thomas,
Roy Ayers Ubiquity,
Marc Almond,
Major Organ And The Adding Machine,
Eric Copeland,
Siouxsie and the Banshees,
Graham Central Station,
Radiopuhelimet,
The Names,
Country Joe & The Fish,
Black Sheep,
Hoover,
Youth Brigade,
Jacob Miller,
Echospace,
Crime,
Mr. Review,
Gichy Dan,
Funky Four + One,
Royal Trux,
Letta Mbulu,
Agitation Free,
Cal Tjader,
Animal Collective,
Oblivians,
Peter Gordon & Love of Life Orchestra,
The Dead C,
Janne Schatter,
Faraquet,
Marvin Gaye,
New York Dolls,
Whodini,
The Associates,
Flash Fearless,
the Slits,
Matthew Halsall,
Ultimate Spinach,
Reagan Youth,
Smog,
Lizzy Mercier Descloux,
Al Stewart,
Mo-Dettes,
Red Lorry Yellow Lorry,
The Residents,
June of 44,
Eddi Front,
The Busters,
The Kinks,
D'Angelo,
The Slits,
Bad Manners,
Japan, Japan, Japan, Japan.
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.