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 Guinea and from Jakarta.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Soul Sonic Force to the dance kids.
I played it at the Roxy.
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 Alphaville. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck 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?
Ituana,
Major Organ And The Adding Machine,
the Germs,
Scratch Acid,
The Golliwogs,
10cc,
Roxy Music,
Bobby Byrd,
Sandy B,
Derrick Morgan,
Fela Kuti,
Nik Kershaw,
Yaz,
Scrapy,
Ronnie Foster,
The Chocolate Watch Band,
Gian Franco Pienzio,
Notorious BIG live in Amsterdam,
Susan Cadogan,
Blake Baxter,
The Doors,
The Fall,
Basic Channel,
Gong,
Marc Romboy vs. Booka Shade,
Swans,
Eric B and Rakim,
D'Angelo,
Minnie Riperton,
Yellowson,
Bronski Beat,
The Blackbyrds,
Iggy Pop,
Make Up,
Notorious Big And Bone Thugs,
Arthur Verocai,
Fugazi,
Nico,
Amazonics,
The Blues Magoos,
John Foxx,
Jandek,
Can,
Stetsasonic,
Sister Nancy,
Colin Newman,
Nation of Ulysses,
Y Pants,
Pylon,
Oppenheimer Analysis,
Model 500,
Schoolly D,
Rhythm & Sound,
Section 25,
Röyhkä ja Rättö ja Lehtisalo,
Blossom Toes,
Dawn Penn,
The Martian,
The American Breed,
Average White Band,
The Sisters of Mercy,
Ornette Coleman,
Yazoo,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.