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 Haiti and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1971.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Mexico City 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Marshall Jefferson to the disco 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 June of 44. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The Selecter,
Section 25,
Boz Scaggs,
The Smiths,
T.S.O.L.,
The Divine Comedy,
Rowland S Howard / Lydia Lunch,
Robert Görl,
Essential Logic,
X-102,
Selector Dub Narcotic,
Yaz,
Echospace,
Wings,
Sällskapet,
Marmalade,
The Raincoats,
Lafayette Afro Rock Band,
The Mojo Men,
Monolake,
Avey Tare & Kría Brekkan,
The United States of America,
Tim Buckley,
The Associates,
Drive Like Jehu,
The Wake,
Sonic Youth,
Massinfluence,
Crispy Ambulance,
Underground Resistance,
Andrew Ashong & Theo Parrish,
Blake Baxter,
Television,
The Techniques,
Grauzone,
The New Christs,
The Human League,
ABC,
Eden Ahbez,
Subhumans,
Funkadelic,
Dennis Brown,
Sticky Fingaz feat. Raekwon,
Prince Buster,
Fort Wilson Riot,
Banda Bassotti,
Man Parrish,
Quantec,
Sixth Finger,
Kurtis Blow,
Slick Rick,
Deakin,
Cluster,
Radiohead,
Swell Maps,
Neil Young,
The Red Krayola,
The Blues Magoos,
Public Image Ltd.,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.