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 Cape Verde and from Milan.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1978.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Harmonia to the grime 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 Janne Schatter. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Lower 48,
Letta Mbulu,
Franke,
DeepChord presents Echospace,
The Birthday Party,
Jawbox,
AZ,
Boz Scaggs,
Clear Light,
The Divine Comedy,
Suburban Knight,
The Gun Club,
Arab on Radar,
Super Lover Cee & Casanova Rud,
Ituana,
It's A Beautiful Day,
Eddi Front,
The Monks,
Matthew Halsall,
The Wake,
One Last Wish,
Stereo Dub,
Gerry Rafferty,
Fela Kuti,
The Offenders,
The Victims,
Scrapy,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Newcleus,
The Sound,
The Jesus and Mary Chain,
Anthony Braxton,
Buzzcocks,
Cluster,
Con Funk Shun,
OOIOO,
The Index,
Nils Olav,
Pharoah Sanders,
Unwound,
The United States of America,
KRS-One,
Blossom Toes,
Echo & the Bunnymen,
Chris & Cosey,
Aloha Tigers,
The Chocolate Watch Band,
Country Teasers,
Tim Buckley,
Minny Pops,
Television Personalities,
Skriet,
Dennis Brown,
Malaria!,
Selector Dub Narcotic,
Pylon,
Thee Headcoats,
Traffic Nightmare,
48th St. Collective,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.