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 Iran and from Bologna.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Madrid 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 The Human League to the dance kids.
I played it at the Hacienda.
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 Gastr Del Sol. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Soulsonic Force,
Juan Atkins,
The Names,
Darondo,
Morten Harket,
Joyce Sims,
Gabor Szabo,
Joe Finger,
Eric B and Rakim,
Marshall Jefferson,
Roger Hodgson,
Agitation Free,
Jimmy McGriff,
Jerry's Kids,
Shuggie Otis,
Alphaville,
Sugar Minott,
Rowland S Howard / Lydia Lunch,
The Durutti Column,
Yellowson,
Trumans Water,
Pharaoh Sanders and the Fire Engines,
Glambeats Corp.,
Charles Mingus,
Rakim,
Graham Central Station,
Lee Hazlewood,
The Velvet Underground,
Visage,
Audionom,
EPMD,
Spandau Ballet,
Gong,
The Raincoats,
Sarah Menescal,
L. Decosne,
Japan,
Kenny Larkin,
Don Cherry,
James White and The Blacks,
Wolf Eyes,
The Mighty Diamonds,
Anakelly,
Notorious BIG live in Amsterdam,
The Happenings,
Fatback Band,
The Gun Club,
Jeff Mills,
Ponytail,
Eddi Front,
Andrew Ashong & Theo Parrish,
the Normal,
Connie Case,
Avey Tare & Kría Brekkan,
Gang of Four,
The Barracudas,
Wasted Youth,
Traffic Nightmare,
Drive Like Jehu,
Gil Scott-Heron & Brian Jackson,
Deadbeat,
cv313, cv313, cv313, cv313.
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.