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 Estonia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Spokane 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 arpeggiator 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 Hardrive to the crunk kids.
I played it at the Troubador.
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 Victims. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
The Moody Blues,
Blancmange,
The Monochrome Set,
The Motions,
Gil Scott-Heron and Jamie xx,
Camberwell Now,
Minor Threat,
Avey Tare & Kría Brekkan,
Isaac Hayes,
Swell Maps,
Spandau Ballet,
Unrelated Segments,
Nico,
Mission of Burma,
Bizarre Inc.,
Nick Fraelich,
Marc Almond,
Soulsonic Force,
Joensuu 1685,
Boz Scaggs,
the Normal,
Vladislav Delay,
The Smoke,
The Sonics,
Tom Boy,
JFA,
The Durutti Column,
Absolute Body Control,
Kings Of Tomorrow,
Black Flag,
Kerri Chandler,
Crispy Ambulance,
Severed Heads,
Chris & Cosey,
Ultramagnetic MC's,
Dennis Brown,
Danielle Patucci,
Scratch Acid,
Captain Beefheart & His Magic Band,
The Walker Brothers,
Joey Negro,
The Shadows of Knight,
Second Layer,
Fatback Band,
Nas,
The Invisible,
Barclay James Harvest,
Von Mondo,
Black Bananas,
Wally Richardson,
The Zeros,
DJ Style,
Blake Baxter,
The Star Department,
The Gun Club,
Glambeats Corp.,
Brothers Johnson,
Joe Finger,
The Remains,
The American Breed,
B.T. Express,
Gastr Del Sol,
John Cale, John Cale, John Cale, John Cale.
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.