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 Bhutan and from Salvador.
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 1975.
I'm losing my edge.
To all the kids in Houston and Shanghai.
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 808 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 & Brian Jackson to the rap 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 Throbbing Gristle. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Henry Cow 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Aloha Tigers,
The Litter,
Bobby Byrd,
Shuggie Otis,
The Durutti Column,
Drexciya,
Monks,
New Age Steppers,
David McCallum,
The Dave Clark Five,
Big Daddy Kane,
Matthew Halsall,
Lou Reed & John Cale,
The Selecter,
Cal Tjader,
Gian Franco Pienzio,
Janne Schatter,
UT,
Heavy D & The Boyz,
Bauhaus,
Joyce Sims,
Arab on Radar,
Fear,
Selector Dub Narcotic,
Wire,
Rites of Spring,
London Community Gospel Choir,
Todd Terry,
Interpol,
The Men They Couldn't Hang,
Moebius,
Fad Gadget,
Robert Hood,
Roxy Music,
The Angels of Light,
Slick Rick,
Livin' Joy,
Amon Düül,
Lou Reed & Metallica,
Zapp,
Sly & The Family Stone,
John Foxx,
The Gladiators,
The Mummies,
The Techniques,
Electric Light Orchestra,
Stockholm Monsters,
Boredoms,
Surgeon,
The Young Rascals,
The Count Five,
Section 25,
Minny Pops,
Chrome,
Desert Stars,
The Mojo Men,
Lakeside,
Easy Going,
X-Ray Spex,
The Doobie Brothers,
Gichy Dan,
Delta 5,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.