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 Australia and from Seoul.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1972.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 Supertramp 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 Scrapy. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Organ,
Can,
Hasil Adkins,
Laurel Aitken,
Jesper Dahlbäck,
Jacques Brel,
Magma,
Louis and Bebe Barron,
Amazonics,
Subhumans,
Flash Fearless,
Tommy Roe,
the Association,
Erykah Badu,
Franke,
Pantaleimon,
Roy Ayers Ubiquity,
Japan,
The Sisters of Mercy,
Sarah Menescal,
The Flesh Eaters,
Bill Near,
Lyres,
Isaac Hayes,
Mo-Dettes,
Khruangbin,
Cecil Taylor,
H. Thieme,
Little Man,
Faust,
The Pretty Things,
Eddi Front,
The Gap Band,
Von Mondo,
Gastr Del Sol,
Teenage Jesus and the Jerks,
Fugazi,
Donald Byrd,
The Monochrome Set,
Visionaries,LMNO, T- Love & Iriscience,
Donny Hathaway,
The Star Department,
The Gories,
Dave Gahan,
The Gladiators,
Leonard Cohen,
Connie Case,
Cybotron,
Country Joe & The Fish,
Simply Red,
Jesper Dahlback,
Marvin Gaye,
Rakim,
Television Personalities,
the Bar-Kays,
Pantytec,
Index,
Mantronix,
A Certain Ratio,
Ossler, Ossler, Ossler, Ossler.
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.