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 Nicaragua and from Lagos.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Jakarta 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Essential Logic to the grime kids.
I played it at the Roxy.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Erasure,
Funkadelic,
Niagra,
John Foxx,
The Count Five,
Mandrill,
Lakeside,
Skarface,
Avey Tare's Slasher Flicks,
Minor Threat,
London Community Gospel Choir,
Harry Pussy,
Nation of Ulysses,
Urselle,
Minny Pops,
Piero Umiliani,
Wire,
D'Angelo,
The Walker Brothers,
Lou Reed & Metallica,
the Normal,
Sam Rivers,
Bill Wells,
Gang of Four,
Connie Case,
Liaisons Dangereuses,
Glenn Branca,
Zapp,
Lower 48,
Dead Boys,
The Angels of Light,
Archie Shepp,
the Fania All-Stars,
Unrelated Segments,
the Soft Cell,
Roxette,
Reuben Wilson,
Frankie Knuckles,
Lonnie Liston Smith,
Youth Brigade,
Boogie Down Productions,
Crash Course in Science,
Fela Kuti,
Yaz,
Sun Ra,
Basic Channel,
Siglo XX,
John Holt,
the Bar-Kays,
Angry Samoans,
Bauhaus,
The Pretty Things,
Main Source,
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
Nico,
The Men They Couldn't Hang,
Henry Cow,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.