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 United States and from Philadelphia.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Manila 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the spring reverb 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 Althea and Donna 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 Neil Young. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Roy Ayers,
Wolf Eyes,
Brand Nubian,
The Tremeloes,
Hoover,
Tomorrow,
Electric Prunes,
Magma,
Colin Newman,
The Residents,
Aaron Thompson,
Procol Harum,
Anthony Braxton,
Maleditus Sound,
Vaughan Mason & Crew,
the Soft Cell,
Franke,
Aswad,
Robert Görl,
Grauzone,
Alice Coltrane,
Second Layer,
The Zeros,
Scan 7,
Lalann,
The Cure,
The Dave Clark Five,
The United States of America,
In Retrospect,
Nirvana,
Man Eating Sloth,
Spoonie Gee,
Deakin,
The Five Americans,
Josef K,
The New Christs,
The Velvet Underground,
Visionaries,LMNO, T- Love & Iriscience,
Swell Maps,
Intrusion,
Audionom,
LL Cool J,
Bill Near,
Sugar Minott,
Interpol,
Skaos,
Vainqueur,
Barbara Tucker,
Brass Construction,
Erasure,
Make Up,
Q and Not U,
The Detroit Cobras,
The Smiths,
Tommy Roe,
Manfred Mann's Earth Band,
Arcadia,
The Gladiators,
the Association,
Robert Hood,
Alison Limerick,
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.