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 Albania and from Houston.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Matthew Halsall to the grime 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 Drive Like Jehu. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal dance 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Radio Birdman,
Pylon,
The Five Americans,
Porter Ricks,
Ash Ra Tempel,
London Community Gospel Choir,
Q and Not U,
Terror Squad Feat. Camron,
Amon Düül,
Crash Course in Science,
Schoolly D,
Tears for Fears,
Ultimate Spinach,
Bootsy's Rubber Band,
Skaos,
Sällskapet,
Faraquet,
The Stooges,
The Mojo Men,
Avey Tare's Slasher Flicks,
Soft Cell,
The Raincoats,
Notorious BIG live in Amsterdam,
Roger Hodgson,
Sight & Sound,
David McCallum,
Lou Christie,
The Gories,
Eli Mardock,
Glenn Branca,
Ronnie Foster,
Rowland S Howard / Lydia Lunch,
Sun Ra Arkestra,
Stetsasonic,
Jacques Brel,
Amon Düül II,
Sugar Minott,
Country Joe & The Fish,
Drexciya,
The Slits,
CMW,
Negative Approach,
Motorama,
Rosa Yemen,
Icehouse,
Soul Sonic Force,
Yellowson,
Bill Near,
Leonard Cohen,
Henry Cow,
Pulsallama,
Talk Talk,
Con Funk Shun,
Scientists,
Iggy Pop,
Blake Baxter,
the Fania All-Stars,
The Remains,
Judy Mowatt,
Andrew Hill,
Barbara Tucker,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.