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 Colombia and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 guitar sounds with much patience.
I was there when Donald Fagen 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 James Chance & The Contortions 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 Lonnie Liston Smith. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Trumans Water,
Max Romeo,
ABBA,
The Kinks,
CMW,
Neu!,
Eric Copeland,
Notorious Big And Bone Thugs,
Big Daddy Kane,
Visionaries,LMNO, T- Love & Iriscience,
James White and The Blacks,
Electric Prunes,
Bobby Byrd,
Crooked Eye,
Country Joe & The Fish,
Massinfluence,
Fat Boys,
Groovy Waters,
Au Pairs,
Popol Vuh,
The Leaves,
Absolute Body Control,
Inner City,
Susan Cadogan,
Chrome,
The Fall,
Wings,
It's A Beautiful Day,
Sad Lovers and Giants,
Matthew Bourne,
The Count Five,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Camouflage,
L. Decosne,
Scrapy,
Andrew Ashong & Theo Parrish,
Japan,
The Wake,
The Busters,
Bobby Hutcherson,
The Divine Comedy,
The Offenders,
Oppenheimer Analysis,
Lower 48,
Cal Tjader,
kango's stein massive,
Sunsets and Hearts,
Aswad,
Pylon,
Terry Callier,
Ohio Players,
Bang on a Can All-Stars,
The New Christs,
Amon Düül II,
Gregory Isaacs,
Art Ensemble Of Chicago,
The Selecter,
T.S.O.L.,
the Association,
Red Lorry Yellow Lorry,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.