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 Denmark and from Mexico City.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school Glasgow 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Al Stewart to the techno kids.
I played it at Trash.
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 Flash Fearless. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
the Germs,
Fat Boys,
Marc Almond,
Index,
Robert Wyatt,
Make Up,
a-ha,
Gang Green,
Bobby Womack,
The Trojans,
Lalo Schifrin,
Livin' Joy,
Siglo XX,
Brick,
The Sisters of Mercy,
Deutsch Amerikanische Freundschaft,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Alarm Clocks,
Roxette,
Quando Quango,
The Vogues,
Bill Wells,
Cabaret Voltaire,
Sun City Girls,
Spandau Ballet,
Sight & Sound,
Television Personalities,
Barbara Tucker,
Section 25,
Essential Logic,
Nico,
Lou Reed,
Pulsallama,
Letta Mbulu,
Basic Channel,
Ten City,
48th St. Collective,
The Detroit Cobras,
Fugazi,
Popol Vuh,
Grauzone,
Khruangbin,
Minnie Riperton,
Lou Reed & Metallica,
Joe Finger,
Blossom Toes,
Robert Hood,
Eric Copeland,
Urselle,
Fad Gadget,
The Cramps,
Lonnie Liston Smith,
Minny Pops,
Terrestrial Tones,
Sticky Fingaz feat. Raekwon,
Gichy Dan,
The Golliwogs,
Kas Product,
Ponytail,
MC5,
New Age Steppers,
Richard Hell and the Voidoids,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.