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 Russia and from Paris.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Manchester 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 Nile Rodgers 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 June of 44 to the grime 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 Robert Hood. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
The Move,
the Human League,
Brothers Johnson,
MDC,
Masters at Work,
The Sound,
Mr. Review,
Oppenheimer Analysis,
Icehouse,
The Fugs,
Bill Wells,
Blancmange,
Gichy Dan,
The West Coast Pop Art Experimental Band,
UT,
Big Daddy Kane,
The Slackers,
Bizarre Inc.,
48th St. Collective,
Ronnie Foster,
Infiniti,
Saccharine Trust,
The Fire Engines,
James Chance & The Contortions,
L. Decosne,
The Dirtbombs,
The Mighty Diamonds,
CMW,
K-Klass,
Sugar Minott,
A Flock of Seagulls,
Stiv Bators,
The Toasters,
B.T. Express,
Derrick May,
Bobby Sherman,
Avey Tare,
Joey Negro,
Angry Samoans,
Deakin,
Sarah Menescal,
Echo & the Bunnymen,
Cal Tjader,
Tropical Tobacco,
Drive Like Jehu,
Main Source,
David McCallum,
Barclay James Harvest,
Amazonics,
Little Man,
Gong,
New Order,
Black Sheep,
F. McDonald,
Thee Headcoats,
The Monks,
The Names,
Supertramp,
Fort Wilson Riot,
Tomorrow,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.