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 Malawi and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
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 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 David Bowie 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 Stereo Dub to the grunge kids.
I played it at the Spitz.
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 World's Most. All the underground hits.
All Swans tracks. I heard you have a vinyl of every The Leaves 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Red Lorry Yellow Lorry,
Inner City,
The Offenders,
Josef K,
Grandmaster Flash,
Thompson Twins,
Godley & Creme,
Minnie Riperton,
Curtis Mayfield,
The Durutti Column,
Eric B and Rakim,
Marc Romboy vs. Booka Shade,
Charles Mingus,
The Tremeloes,
It's A Beautiful Day,
Outsiders,
Todd Terry,
Reuben Wilson,
Von Mondo,
Lungfish,
Ohio Players,
Moebius,
Audionom,
DNA,
Rekid,
Skriet,
Arthur Verocai,
Bronski Beat,
Pylon,
Q and Not U,
Eurythmics,
Franke,
Terrestrial Tones,
Peter and Kerry,
Kool Moe Dee,
Drexciya,
Connie Case,
Shuggie Otis,
The Moody Blues,
Crispian St. Peters,
The Wake,
The United States of America,
Mission of Burma,
Bobby Sherman,
Rotary Connection,
The Misunderstood,
Gang Gang Dance,
The Men They Couldn't Hang,
The Sonics,
Liaisons Dangereuses,
Harry Pussy,
Bad Manners,
Motorama,
The Chocolate Watch Band,
Selector Dub Narcotic,
LL Cool J,
DJ Sneak,
Pharoah Sanders,
DeepChord presents Echospace,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.