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 Singapore and from London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Copenhagen 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 theremin 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 David Axelrod to the crunk 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 Justin Hinds & The Dominoes. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Arthur Verocai,
Tommy Roe,
Barrington Levy,
Mary Jane Girls,
Rakim,
Jesper Dahlbäck,
The Seeds,
Von Mondo,
Kaleidoscope,
The Detroit Cobras,
Andrew Ashong & Theo Parrish,
Nation of Ulysses,
Camouflage,
The Tremeloes,
Masters at Work,
The Sound,
Swell Maps,
Ronnie Foster,
Can,
Scion,
The Human League,
Blancmange,
Vaughan Mason & Crew,
Joyce Sims,
the Sonics,
Bronski Beat,
Mantronix,
Ajijia Myrayebe,
La Düsseldorf,
Siglo XX,
Camberwell Now,
David Bowie,
Joe Finger,
Rowland S Howard / Lydia Lunch,
Pussy Galore,
Motorama,
Unrelated Segments,
Public Image Ltd.,
Be Bop Deluxe,
Colin Newman,
Eric Dolphy,
Joensuu 1685,
Banda Bassotti,
Parry Music,
Harry Pussy,
The Kinks,
Pagans,
Johnny Osbourne,
The Monks,
The Royal Family And The Poor,
Soulsonic Force,
Laurel Aitken,
The United States of America,
Sun Ra Arkestra,
Sällskapet,
Model 500,
Fear,
Robert Wyatt,
Ituana,
James Chance & The Contortions,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.