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 Australia and from Sao Paulo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Cabaret Voltaire to the techno kids.
I played it at the Spitz.
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 E-Dancer. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Moby Grape,
Jeru the Damaja,
Gabor Szabo,
Deepchord,
Prince Buster,
Camouflage,
Ten City,
Magazine,
Camberwell Now,
The Wake,
Jawbox,
The Mummies,
The Jesus and Mary Chain,
Terry Callier,
Kaleidoscope,
Tomorrow,
Rod Modell,
Circle Jerks,
Tears for Fears,
Yellowson,
The Durutti Column,
48th St. Collective,
Hashim,
Agitation Free,
The J.B.'s,
Stockholm Monsters,
Minnie Riperton,
Jeff Mills,
Magma,
The Remains,
Dennis Brown,
Eric Copeland,
Make Up,
The Shadows of Knight,
DNA,
The Move,
Be Bop Deluxe,
Minny Pops,
Drive Like Jehu,
The Leaves,
L. Decosne,
Spoonie Gee,
The United States of America,
Pharoah Sanders,
Unrelated Segments,
Fort Wilson Riot,
Visionaries,LMNO, T- Love & Iriscience,
James Chance & The Contortions,
Super Lover Cee & Casanova Rud,
Albert Ayler,
The Moleskins,
B.T. Express,
Danielle Patucci,
Young Marble Giants,
Joensuu 1685,
The Happenings,
The Walker Brothers,
Rekid,
LL Cool J,
Monks,
Gang Green,
Kerri Chandler,
Wings, Wings, Wings, Wings.
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.