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 Belarus and from Houston.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Peter Gordon & Love of Life Orchestra to the punk kids.
I played it at the Astoria.
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 Wally Richardson. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Bob Dylan 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The Index,
Thee Headcoats,
The United States of America,
Alice Coltrane,
Joy Division,
Wally Richardson,
Country Joe & The Fish,
Das Ding,
Deadbeat,
The Offenders,
A Certain Ratio,
Reagan Youth,
Lou Christie,
Bootsy Collins,
John Cale,
Sugar Minott,
Lower 48,
Sight & Sound,
Roger Hodgson,
Talk Talk,
Matthew Halsall,
Skriet,
Minny Pops,
Robert Görl,
Joe Finger,
The Invisible,
Tomorrow,
Quando Quango,
The Sonics,
The Moleskins,
Flash Fearless,
Minnie Riperton,
Johnny Clarke,
Silicon Teens,
the Fania All-Stars,
Ten City,
Bang on a Can All-Stars,
Kool G Rap & DJ Polo,
The Seeds,
The Victims,
Eli Mardock,
Rufus Thomas,
Young Marble Giants,
Bill Wells,
Sister Nancy,
The Mojo Men,
Anthony Braxton,
Interpol,
Make Up,
Howard Jones,
June Days,
Jeru the Damaja,
Trumans Water,
The Star Department,
The Alarm Clocks,
Danielle Patucci,
Siglo XX,
Kango’s Stein Massive,
Depeche Mode,
Kevin Saunderson,
The Chocolate Watch Band,
Ludus, Ludus, Ludus, Ludus.
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.