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 Singapore and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Taipei 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 arpeggiator 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 Franke to the crunk 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 Suburban Knight. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Bobby Sherman 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Audionom,
Aural Exciters,
Teenage Jesus and the Jerks,
Y Pants,
The Velvet Underground,
Slick Rick,
Lou Christie,
Sugar Minott,
James Chance & The Contortions,
Minny Pops,
Gil Scott-Heron & Brian Jackson,
Cybotron,
Silicon Teens,
Ponytail,
Arcadia,
Wally Richardson,
Buzzcocks,
The Selecter,
Amon Düül,
B.T. Express,
Louis and Bebe Barron,
Aloha Tigers,
The Victims,
The Flesh Eaters,
Skriet,
The Trojans,
Severed Heads,
Fugazi,
Brass Construction,
Lyres,
Vainqueur,
Sun Ra,
Oneida,
Ituana,
Black Flag,
John Cale,
World's Most,
David McCallum,
New York Dolls,
Sun Ra Arkestra,
Rod Modell,
Althea and Donna,
Big Daddy Kane,
Todd Terry,
Susan Cadogan,
Derrick Morgan,
Notorious BIG live in Amsterdam,
Warren Ellis,
Tropical Tobacco,
Au Pairs,
The New Christs,
Jerry Gold Smith,
Josef K,
Whodini,
Animal Collective,
The Durutti Column,
Bill Wells,
The Pop Group,
Pantytec,
Kaleidoscope,
The Mojo Men,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.