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 Korea South and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Warren Ellis to the grime kids.
I played it at CBGB's.
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 The Tremeloes. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Grandmaster Flash,
Cabaret Voltaire,
Kango’s Stein Massive,
Camron Feat. Memphis Bleek And Beenie Seigel,
Camouflage,
Boredoms,
the Soft Cell,
Bobbi Humphrey,
The Shadows of Knight,
Metal Thangz,
David McCallum,
The Blackbyrds,
The Move,
Lyres,
Heaven 17,
Sad Lovers and Giants,
Cameo,
The American Breed,
Strawberry Alarm Clock,
Rowland S Howard / Lydia Lunch,
John Cale,
Trumans Water,
The Gories,
Roy Ayers Ubiquity,
The Motions,
New Order,
Jerry Gold Smith,
Malaria!,
Man Parrish,
Bang On A Can,
John Foxx,
Can,
Drexciya,
Guru Guru,
The Divine Comedy,
Tropical Tobacco,
Scott Walker + Sunn O))),
Johnny Osbourne,
The Skatalites,
Procol Harum,
Radiopuhelimet,
Kerrie Biddell,
Al Stewart,
Barbara Tucker,
Scratch Acid,
Wasted Youth,
Dr. Dre and Snoop Doggy Dog,
The Doobie Brothers,
Outsiders,
Yellowson,
Vaughan Mason & Crew,
Quadrant,
Bluetip,
Peter & Gordon,
John Holt,
Pantytec,
Henry Cow,
Schoolly D,
Simply Red,
Radiohead,
Gabor Szabo,
Sam Rivers,
Monolake,
Fluxion, Fluxion, Fluxion, Fluxion.
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.