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 Maldives and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Blake Baxter to the techno kids.
I played it at CBGB's.
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 Throbbing Gristle. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
X-101,
Tom Boy,
The Flesh Eaters,
Terry Callier,
Lou Reed & John Cale,
Zapp,
Alison Limerick,
Marc Romboy vs. Booka Shade,
Suburban Knight,
The Toasters,
Godley & Creme,
Sexual Harrassment,
Captain Beefheart & His Magic Band,
Lalo Schifrin,
Cheater Slicks,
Lower 48,
Franke,
Altered Images,
Bronski Beat,
Negative Approach,
OOIOO,
Infiniti,
Roy Ayers Ubiquity,
Justin Hinds & The Dominoes,
Oneida,
10cc,
the Slits,
Andrew Ashong & Theo Parrish,
Tommy Roe,
Roxette,
Bobby Hutcherson,
Aural Exciters,
Lyres,
Country Joe & The Fish,
Sound Behaviour,
Crispian St. Peters,
Roy Ayers,
The Knickerbockers,
Thompson Twins,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Bob Dylan,
Mad Mike,
Theoretical Girls,
Smog,
Pere Ubu,
Freddie Wadling,
Panda Bear,
X-102,
Black Moon,
De La Soul & Jungle Brothers,
Ice-T,
London Community Gospel Choir,
Pet Shop Boys,
Jeff Lynne,
Roxy Music,
Rapeman,
Liaisons Dangereuses,
The Tremeloes,
The Cure,
The Divine Comedy,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.