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 Cameroon and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when David Bowie 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 Urselle to the jazz kids.
I played it at Cafe Wha.
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 Electric Prunes. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Electric Light Orchestra,
Wings,
Guru Guru,
FM Einheit,
Agent Orange,
D'Angelo,
Aural Exciters,
Neu!,
Panda Bear,
Freddie Wadling,
Ludus,
Underground Resistance,
The New Christs,
KRS-One,
The Chocolate Watch Band,
Flamin' Groovies,
The Smoke,
Sonny Sharrock,
Steve Hackett,
The Evens,
Avey Tare's Slasher Flicks,
Mr. Review,
Lee Hazlewood,
Kaleidoscope,
Pole,
Barry Ungar,
Ponytail,
Negative Approach,
Arab on Radar,
Tropical Tobacco,
Audionom,
Can,
Nils Olav,
The United States of America,
Archie Shepp,
Stetsasonic,
Dark Day,
Joyce Sims,
Graham Central Station,
Marmalade,
Mark Hollis,
ABC,
Ice-T,
Swans,
Be Bop Deluxe,
Erasure,
E-Dancer,
Pharoah Sanders,
Lou Reed,
Neil Young,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bobby Womack,
Hasil Adkins,
Amazonics,
Soul Sonic Force,
The Leaves,
Main Source,
Saccharine Trust,
Cluster,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.