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 Estonia and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school London 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 synthesizer 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 Half Japanese to the electroclash 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 The Saints. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
The Mummies,
B.T. Express,
Lizzy Mercier Descloux,
Harry Pussy,
Roger Hodgson,
Barry Ungar,
Brothers Johnson,
Eyeless In Gaza,
The Fall,
Peter and Kerry,
Aural Exciters,
Loose Ends,
Dark Day,
Ajijia Myrayebe,
The Move,
Pierre Henry,
Ultramagnetic MC's,
Make Up,
Khruangbin,
Organ,
The Shadows of Knight,
Howard Jones,
Orchestral Manoeuvres in the Dark,
Blancmange,
The Five Americans,
Urselle,
Inner City,
Teenage Jesus and the Jerks,
Peter Gordon & Love of Life Orchestra,
Can,
The Gap Band,
These Immortal Souls,
Model 500,
Carl Craig,
Art Ensemble Of Chicago,
Thee Headcoats,
Shuggie Otis,
Arab on Radar,
Arthur Verocai,
Quadrant,
Jesper Dahlbäck,
Slave,
Anthony Braxton,
Jacques Brel,
Gabor Szabo,
The Saints,
Nico,
Bobby Byrd,
The Flesh Eaters,
The Mighty Diamonds,
Donald Byrd,
Animal Collective,
Goldenarms,
Ralphi Rosario,
The Sonics,
Fatback Band,
Lucky Dragons,
Sonny Sharrock,
James Chance & The Contortions,
Mark Hollis,
Audionom, Audionom, Audionom, Audionom.
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.