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 Pakistan and from Toronto.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Portland and Jakarta.
I'm losing my edge to the art-school Portland 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Sugar Minott to the techno kids.
I played it at the Troubador.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
The Mojo Men,
John Holt,
The Dirtbombs,
kango's stein massive,
Pantytec,
Notorious BIG live in Amsterdam,
Circle Jerks,
Swell Maps,
The Move,
Grandmaster Flash and the Furious Five,
Groovy Waters,
Marc Almond,
Wighnomy Brothers & Robag Wruhme,
Prince Buster,
B.T. Express,
Television Personalities,
Thompson Twins,
Youth Brigade,
Quadrant,
John Lydon,
Curtis Mayfield,
Arthur Verocai,
Khruangbin,
Cal Tjader,
Rod Modell,
Danielle Patucci,
Talk Talk,
48th St. Collective,
Shoche,
Technova,
Los Fastidios,
Henry Cow,
It's A Beautiful Day,
Soft Cell,
L. Decosne,
The Happenings,
The Five Americans,
Fad Gadget,
New Age Steppers,
Gang Starr,
T.S.O.L.,
Liaisons Dangereuses,
Gian Franco Pienzio,
Avey Tare,
Grauzone,
Depeche Mode,
David Axelrod,
The Star Department,
Model 500,
Eric B and Rakim,
The Pop Group,
UT,
The Vogues,
Eli Mardock,
Jerry's Kids,
Todd Terry,
Marshall Jefferson,
Infiniti,
Nils Olav,
Sunsets and Hearts,
Yazoo,
Sixth Finger,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.