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 Nigeria and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1978.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Madrid 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Bill Wells to the disco 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 Aaron Thompson. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Magma,
Boogie Down Productions,
Q65,
Tommy Roe,
Swans,
A Flock of Seagulls,
Selector Dub Narcotic,
Camron Feat. Memphis Bleek And Beenie Seigel,
In Retrospect,
Shoche,
Hot Snakes,
Fela Kuti,
Ultravox,
The Moody Blues,
Lungfish,
Avey Tare & Kría Brekkan,
Joe Finger,
Crash Course in Science,
Pussy Galore,
Kerrie Biddell,
The Smiths,
Gerry Rafferty,
Michelle Simonal,
Lucky Dragons,
Howard Jones,
The Residents,
Fugazi,
Gichy Dan,
Reuben Wilson,
Franke,
New York Dolls,
Unwound,
Von Mondo,
Bush Tetras,
Crispian St. Peters,
Soft Cell,
The Dirtbombs,
Gong,
The Mummies,
Deepchord,
Visage,
ABBA,
It's A Beautiful Day,
Vladislav Delay,
Oppenheimer Analysis,
Talk Talk,
Sly & The Family Stone,
Ossler,
The Walker Brothers,
Barclay James Harvest,
The Barracudas,
Darondo,
Chris Corsano,
The Martian,
The Human League,
Radiohead,
Kings Of Tomorrow,
Inner City,
Don Cherry,
Radio Birdman,
Circle Jerks,
Ronnie Foster,
David Bowie, David Bowie, David Bowie, David Bowie.
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.