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 Dominican Republic and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Manila.
I'm losing my edge to the art-school Copenhagen 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 Holger Czukay 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 Matthew Halsall to the rock 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 Kurtis Blow. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Skaos 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Charles Mingus,
The Fire Engines,
Michelle Simonal,
Japan,
The Star Department,
Crispian St. Peters,
Urselle,
Fluxion,
The Black Dice,
Eyeless In Gaza,
Matthew Halsall,
X-Ray Spex,
Carl Craig,
MC5,
Vaughan Mason & Crew,
Visage,
F. McDonald,
Lucky Dragons,
Jesper Dahlbäck,
Robert Hood,
The Zeros,
Marvin Gaye,
The Misunderstood,
Judy Mowatt,
Robert Görl,
The Seeds,
The Alarm Clocks,
Niagra,
Khruangbin,
Funkadelic,
Jeff Lynne,
Pierre Henry,
the Swans,
New Age Steppers,
Marine Girls,
Vladislav Delay,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cybotron,
Half Japanese,
The Sisters of Mercy,
Quando Quango,
Althea and Donna,
Lakeside,
Neil Young & Crazy Horse,
Drive Like Jehu,
Lebanon Hanover,
Nils Olav,
Major Organ And The Adding Machine,
Black Bananas,
Pole,
The Gladiators,
Zapp,
Howard Jones,
It's A Beautiful Day,
the Germs,
Radiohead,
Little Man,
The Slackers,
Motorama,
New Order,
The Five Americans,
Hoover,
Bluetip, Bluetip, Bluetip, Bluetip.
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.