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 El Salvador and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Minny Pops to the rock kids.
I played it at the Spitz.
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 Beasts of Bourbon. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Quando Quango,
Aswad,
Marc Almond,
The Tremeloes,
Kevin Saunderson,
Delon & Dalcan,
The Fuzztones,
Cymande,
Inner City,
Clear Light,
Alton Ellis,
Al Stewart,
Cameo,
The Residents,
Steve Hackett,
Beasts of Bourbon,
F. McDonald,
Bootsy Collins,
Pharoah Sanders,
Eli Mardock,
Larry & the Blue Notes,
Derrick Morgan,
Captain Beefheart & His Magic Band,
Gil Scott-Heron and Jamie xx,
Brand Nubian,
Q65,
Girls At Our Best!,
The Five Americans,
Man Parrish,
Bobby Byrd,
Bobby Hutcherson,
Lungfish,
Glenn Branca,
Ken Boothe,
The Names,
Thee Headcoats,
Soul Sonic Force,
Cecil Taylor,
R.M.O.,
Flipper,
The Gun Club,
The Standells,
DeepChord presents Echospace,
Toni Rubio,
The Detroit Cobras,
David Bowie,
The Stooges,
New York Dolls,
The Toasters,
Pere Ubu,
Monolake,
Gang Gang Dance,
Camouflage,
The Blues Magoos,
Simply Red,
Pantaleimon,
Marine Girls,
Frankie Knuckles,
Smog,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.