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 Bangladesh and from Portland.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 The Sisters of Mercy to the jazz kids.
I played it at CBGB's.
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 The Birthday Party. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
kango's stein massive,
DeepChord presents Echospace,
Hot Snakes,
Gang of Four,
Boogie Down Productions,
Jawbox,
Dark Day,
Barrington Levy,
The Music Machine,
Symarip,
Con Funk Shun,
JFA,
Jerry Gold Smith,
Rites of Spring,
10cc,
D'Angelo,
The Selecter,
Scott Walker + Sunn O))),
Mandrill,
Brass Construction,
Susan Cadogan,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Whodini,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fifty Foot Hose,
Jesper Dahlbäck,
the Germs,
Scan 7,
Jeff Lynne,
Dorothy Ashby,
Kayak,
Man Eating Sloth,
Yaz,
Eyeless In Gaza,
Peter Gordon & Love of Life Orchestra,
Janne Schatter,
Maurizio,
Niagra,
Outsiders,
DNA,
Brothers Johnson,
Mr. Review,
Dead Boys,
Matthew Halsall,
Joensuu 1685,
Porter Ricks,
Tommy Roe,
Man Parrish,
Skriet,
Angry Samoans,
The Blues Magoos,
The Royal Family And The Poor,
Kas Product,
Ralphi Rosario,
Lungfish,
Pet Shop Boys,
Technova,
the Soft Cell,
KRS-One,
Kevin Saunderson,
The Grass Roots,
Arcadia, Arcadia, Arcadia, Arcadia.
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.