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 Bangladesh and from Lagos.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Houston 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 mellotron 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 Matthew Bourne to the disco 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 The Selecter. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Adolescents,
Iggy Pop,
Fat Boys,
DeepChord presents Echospace,
ABBA,
Derrick May,
The Martian,
Massinfluence,
Junior Murvin,
Eyeless In Gaza,
Angels of Light & Akron/Family,
Sparks,
Pierre Henry,
Quadrant,
Sun Ra Arkestra,
Wally Richardson,
Severed Heads,
Black Moon,
James White and The Blacks,
Procol Harum,
John Holt,
Blake Baxter,
The Gories,
Drexciya,
Bob Dylan,
The Music Machine,
Magma,
Hoover,
Siouxsie and the Banshees,
Scion,
Qualms,
a-ha,
Delta 5,
Susan Cadogan,
Model 500,
Pulsallama,
Kings Of Tomorrow,
Goldenarms,
Absolute Body Control,
L. Decosne,
Ten City,
The Birthday Party,
Bang On A Can,
Johnny Clarke,
Rapeman,
Max Romeo,
Pagans,
Negative Approach,
Johnny Osbourne,
Amon Düül,
Delon & Dalcan,
The Associates,
Khruangbin,
Liaisons Dangereuses,
The Index,
Jacob Miller,
The Monochrome Set,
Alice Coltrane,
Supertramp,
Anakelly, Anakelly, Anakelly, Anakelly.
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.