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 Bolivia and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
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 harpsichord 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 Joensuu 1685 to the rap kids.
I played it at the 40 Watt.
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 Normal. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
The Count Five,
Colin Newman,
Rahsaan Roland Kirk,
Lyres,
The Fall,
Country Teasers,
Joy Division,
Electric Prunes,
Marcia Griffiths,
The Gun Club,
Black Pus,
Graham Central Station,
Rapeman,
Fat Boys,
Skriet,
The Human League,
Leonard Cohen,
Agitation Free,
Kool G Rap & DJ Polo,
Jesper Dahlback,
Liaisons Dangereuses,
Lonnie Liston Smith,
Pole,
X-101,
Dennis Brown,
Ludus,
Sex Pistols,
Goldenarms,
Iggy Pop,
The Standells,
Fifty Foot Hose,
Grandmaster Flash,
The Star Department,
Circle Jerks,
Monolake,
Lou Reed,
Wighnomy Brothers & Robag Wruhme,
Visionaries,LMNO, T- Love & Iriscience,
Masters at Work,
Can,
Gang Gang Dance,
Technova,
Bauhaus,
Captain Beefheart & His Magic Band,
Oppenheimer Analysis,
Drexciya,
Lebanon Hanover,
The Tremeloes,
New Order,
Althea and Donna,
the Human League,
Moebius,
The Trojans,
Hardrive,
Rites of Spring,
Echospace,
Siouxsie and the Banshees,
Sonic Youth,
T. Rex,
Ossler, Ossler, Ossler, Ossler.
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.