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 Papua New Guinea and from Taipei.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Beijing.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 The Jesus and Mary Chain to the crunk 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 Kings Of Tomorrow tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Jesper Dahlback,
Young Marble Giants,
the Swans,
JFA,
Popol Vuh,
Flash Fearless,
Soul Sonic Force,
The Offenders,
Patti Smith,
Pharaoh Sanders and the Fire Engines,
Camron Feat. Memphis Bleek And Beenie Seigel,
Essential Logic,
Gil Scott-Heron & Brian Jackson,
Ornette Coleman,
Jeff Lynne,
The Chocolate Watch Band,
Visage,
The Detroit Cobras,
Pierre Henry,
Trumans Water,
Bizarre Inc.,
Sound Behaviour,
The United States of America,
Delon & Dalcan,
Joe Smooth,
Ice-T,
Gary Puckett & The Union Gap,
Erykah Badu,
Loose Ends,
Henry Cow,
Mark Hollis,
The Mummies,
Toni Rubio,
Bootsy Collins,
The Men They Couldn't Hang,
Radiohead,
Pylon,
Altered Images,
The Pop Group,
Todd Terry,
Harpers Bizarre,
The Evens,
The Dead C,
the Soft Cell,
The Dirtbombs,
Lou Christie,
Marmalade,
The Star Department,
London Community Gospel Choir,
ABBA,
The Durutti Column,
The New Christs,
Lightning Bolt,
The Searchers,
Sonic Youth,
It's A Beautiful Day,
Aaron Thompson,
Eddi Front,
Smog,
Joey Negro,
The Wake,
Warsaw,
Main Source,
Kayak, Kayak, Kayak, Kayak.
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.