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 Zambia and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school New York 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 Michael McDonald 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 Andrew Hill to the punk kids.
I played it at the Astoria.
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 Public Image Ltd.. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Nick Cave & The Bad Seeds,
Masters at Work,
Judy Mowatt,
Drive Like Jehu,
Rod Modell,
The Dead C,
Laurel Aitken,
Slick Rick,
The Grass Roots,
The Move,
Bobby Sherman,
The Pretty Things,
Pet Shop Boys,
Camberwell Now,
Janne Schatter,
MC5,
Black Flag,
Thompson Twins,
Adolescents,
Skarface,
Thee Headcoats,
Alphaville,
Buzzcocks,
Andrew Ashong & Theo Parrish,
Echospace,
Reuben Wilson,
Super Lover Cee & Casanova Rud,
Red Lorry Yellow Lorry,
Ossler,
Depeche Mode,
the Association,
Q65,
Kango’s Stein Massive,
The Martian,
the Slits,
The Seeds,
The Tremeloes,
Swell Maps,
The Litter,
Rapeman,
Flash Fearless,
Larry & the Blue Notes,
T.S.O.L.,
Slave,
Sugar Minott,
Marc Almond,
Liaisons Dangereuses,
The Velvet Underground,
The Offenders,
Stetsasonic,
Bang on a Can All-Stars,
Black Sheep,
Bootsy Collins,
The Busters,
Pole,
June of 44,
Nik Kershaw,
Avey Tare,
Procol Harum,
Icehouse,
Marmalade, Marmalade, Marmalade, Marmalade.
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.