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 Belize and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Seoul 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 808 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 Arab on Radar 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 Bootsy Collins. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every The Dirtbombs 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Kerri Chandler,
Oppenheimer Analysis,
Sun City Girls,
The Fall,
Unwound,
The Motions,
E-Dancer,
Pulsallama,
Zero Boys,
Little Man,
Television Personalities,
Sunsets and Hearts,
Pantytec,
Isaac Hayes,
Deakin,
Eric Copeland,
A Flock of Seagulls,
Siouxsie and the Banshees,
Hoover,
EPMD,
Joensuu 1685,
Barrington Levy,
Animal Collective,
Kings Of Tomorrow,
Manfred Mann's Earth Band,
James White and The Blacks,
Archie Shepp,
Brass Construction,
Wolf Eyes,
Bobby Byrd,
Don Cherry,
John Foxx,
Ultimate Spinach,
Rekid,
The Barracudas,
The Human League,
Q and Not U,
Skaos,
Scratch Acid,
Cheater Slicks,
Nas,
Eric B and Rakim,
Guru Guru,
the Association,
Niagra,
Scott Walker,
The Happenings,
Nico,
Art Ensemble Of Chicago,
Traffic Nightmare,
Bauhaus,
Ohio Players,
the Germs,
Subhumans,
Adolescents,
Dawn Penn,
Marvin Gaye,
Colin Newman,
Spandau Ballet,
Jawbox,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.