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 Zimbabwe and from Tehran.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Houston 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 Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Chris & Cosey to the electroclash kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Mark Hollis,
John Lydon,
Junior Murvin,
the Sonics,
The Smiths,
Lungfish,
Ajijia Myrayebe,
Joy Division,
Wire,
Nas,
Juan Atkins,
Amon Düül,
Sunsets and Hearts,
Kings Of Tomorrow,
Soft Cell,
Banda Bassotti,
Kool G Rap & DJ Polo,
Niagra,
Black Bananas,
Jesper Dahlbäck,
Alison Limerick,
Tres Demented,
Godley & Creme,
Franke,
Marc Almond,
Theoretical Girls,
The Divine Comedy,
Judy Mowatt,
Minny Pops,
Pete Rock & C.L. Smooth,
The Skatalites,
Circle Jerks,
Hoover,
Tom Boy,
Anakelly,
K-Klass,
Gang Gang Dance,
Minnie Riperton,
Ossler,
Jeff Lynne,
Moss Icon,
Radio Birdman,
Icehouse,
Yellowson,
Von Mondo,
Boredoms,
The Durutti Column,
the Soft Cell,
The Cosmic Jokers,
Rotary Connection,
Soft Machine,
Sixth Finger,
ABC,
Roxy Music,
the Fania All-Stars,
James Chance & The Contortions,
Skaos,
Mantronix,
Electric Light Orchestra,
the Swans, the Swans, the Swans, the Swans.
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.