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 Slovenia and from Tokyo.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Toronto.
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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Accadde A to the techno kids.
I played it at the Roxy.
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 Sugar Minott. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Lou Reed & Metallica,
Scientists,
Byron Stingily,
Danielle Patucci,
Public Image Ltd.,
Althea and Donna,
Spandau Ballet,
Nik Kershaw,
Arthur Verocai,
Deadbeat,
The Peanut Butter Conspiracy,
Goldenarms,
A Flock of Seagulls,
Lizzy Mercier Descloux,
Yusef Lateef,
Neil Young & Crazy Horse,
The Music Machine,
Loose Ends,
Faraquet,
Ultravox,
Howard Jones,
MC5,
Bill Near,
Gang Starr,
Grandmaster Flash and the Furious Five,
Rowland S Howard / Lydia Lunch,
Boogie Down Productions,
Marc Almond,
L. Decosne,
Franke,
Buzzcocks,
cv313,
The Monochrome Set,
Black Moon,
Swans,
Icehouse,
Ornette Coleman,
the Soft Cell,
The Fire Engines,
The Saints,
Jeff Mills,
Sticky Fingaz feat. Raekwon,
New Order,
Grandmaster Flash,
Avey Tare & Kría Brekkan,
The Doobie Brothers,
Gian Franco Pienzio,
DJ Sneak,
Jeru the Damaja,
Strawberry Alarm Clock,
Pussy Galore,
F. McDonald,
The Chocolate Watch Band,
Reagan Youth,
Louis and Bebe Barron,
Magazine,
Crime,
The Doors,
The United States of America,
Mandrill,
Todd Terry,
Oneida,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.