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 Mozambique and from Halifax.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron and Jamie xx to the techno 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 Sad Lovers and Giants. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Organ 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Aaron Thompson,
the Soft Cell,
Davy DMX,
Avey Tare & Kría Brekkan,
Severed Heads,
Terry Callier,
Black Moon,
The Doobie Brothers,
The Associates,
Quantec,
Jimmy McGriff,
Black Flag,
The Monochrome Set,
Sun Ra Arkestra,
Massinfluence,
Arcadia,
Kurtis Blow,
The Index,
Donald Byrd,
T. Rex,
Anthony Braxton,
Young Marble Giants,
Erasure,
Eve St. Jones,
Q and Not U,
Bob Dylan,
Joey Negro,
Procol Harum,
Marc Romboy vs. Booka Shade,
Ajijia Myrayebe,
The American Breed,
Pete Rock & C.L. Smooth,
The Five Americans,
Selector Dub Narcotic,
Skaos,
Rhythim Is Rhythim,
The Gap Band,
Agitation Free,
Tropical Tobacco,
Fluxion,
Supertramp,
Inner City,
Stiv Bators,
Electric Light Orchestra,
Niagra,
Marshall Jefferson,
Nik Kershaw,
The Black Dice,
Trumans Water,
Echospace,
Scrapy,
X-Ray Spex,
The Human League,
Altered Images,
Saccharine Trust,
Mad Mike,
The Motions,
Vladislav Delay,
Monks, Monks, Monks, Monks.
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.