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 Honduras and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Manchester 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 organ sounds with much patience.
I was there when Lou Reed 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 Eurythmics to the rock 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 Soft Cell. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Rhythim Is Rhythim,
The Names,
Stetsasonic,
Rakim,
Pere Ubu,
Robert Görl,
UT,
Gabor Szabo,
a-ha,
Fad Gadget,
Brand Nubian,
Isaac Hayes,
Notorious Big And Bone Thugs,
Rod Modell,
Nas,
Funkadelic,
Mantronix,
Grauzone,
Das Ding,
ABC,
Fatback Band,
Joe Smooth,
Suburban Knight,
Be Bop Deluxe,
kango's stein massive,
Cabaret Voltaire,
Lindisfarne,
Sonny Sharrock,
Don Cherry,
Ralphi Rosario,
the Germs,
Graham Central Station,
The Blackbyrds,
Michelle Simonal,
EPMD,
The Golliwogs,
Fluxion,
Infiniti,
Pole,
Crispian St. Peters,
Aaron Thompson,
Ken Boothe,
Henry Cow,
Malaria!,
Zero Boys,
Pussy Galore,
Andrew Hill,
Animal Collective,
Todd Terry,
Hot Snakes,
The Remains,
David Bowie,
Louis and Bebe Barron,
Scion,
Amon Düül II,
Amazonics,
The Litter,
Loose Ends,
Parry Music,
the Fania All-Stars,
Chris & Cosey,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.