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 Azerbaijan and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Soft Cell to the grime kids.
I played it at the Troubador.
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 Fort Wilson Riot. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Arcadia 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Soulsonic Force,
X-101,
The Gladiators,
Bluetip,
Gil Scott-Heron & Brian Jackson,
Nik Kershaw,
Cal Tjader,
Yazoo,
Rowland S Howard / Lydia Lunch,
Kurtis Blow,
D'Angelo,
Rufus Thomas,
Sticky Fingaz feat. Raekwon,
Magma,
Mr. Review,
The Slits,
Sun City Girls,
Grandmaster Flash,
It's A Beautiful Day,
The Leaves,
Ornette Coleman,
The Fuzztones,
AZ,
Stereo Dub,
The Cramps,
Zero Boys,
Scientists,
Idris Muhammad,
Stockholm Monsters,
Yellowson,
Nirvana,
Gang of Four,
Subhumans,
10cc,
The Victims,
Jesper Dahlback,
Harmonia,
Ludus,
The Blackbyrds,
Stiv Bators,
Warsaw,
Talk Talk,
Spandau Ballet,
Lightning Bolt,
The Busters,
Pagans,
The Last Poets,
Kool Moe Dee,
Intrusion,
Pylon,
8 Eyed Spy,
Depeche Mode,
Piero Umiliani,
48th St. Collective,
kango's stein massive,
Grandmaster Flash and the Furious Five,
Magazine,
Sexual Harrassment,
Moby Grape,
Brand Nubian,
Lebanon Hanover,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.