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 Moldova and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Clear Light to the jazz 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 U.S. Maple. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Gong,
Siouxsie and the Banshees,
John Lydon,
Boogie Down Productions,
Todd Terry,
Au Pairs,
Radiopuhelimet,
Los Fastidios,
Easy Going,
Malaria!,
The Cramps,
The Monochrome Set,
Silicon Teens,
Buzzcocks,
Zero Boys,
The Modern Lovers,
Angels of Light & Akron/Family,
The Litter,
Barrington Levy,
The Tremeloes,
Delta 5,
Louis and Bebe Barron,
Strawberry Alarm Clock,
Captain Beefheart & His Magic Band,
Television Personalities,
Robert Hood,
Avey Tare & Kría Brekkan,
Groovy Waters,
Frankie Knuckles,
The Techniques,
Arthur Verocai,
One Last Wish,
Sun Ra,
Trumans Water,
Bootsy Collins,
The Doors,
Scion,
the Slits,
Eden Ahbez,
Nick Fraelich,
Terry Callier,
Country Joe & The Fish,
Amon Düül,
Orchestral Manoeuvres in the Dark,
Barclay James Harvest,
Banda Bassotti,
Freddie Wadling,
Youth Brigade,
Severed Heads,
The Durutti Column,
Crime,
Accadde A,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & Metallica,
Josef K,
Alice Coltrane,
Black Flag,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.