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 Iran and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Rod Modell to the electroclash kids.
I played it at the Crocodile.
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 Remains. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Technova 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour 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?
Harry Pussy,
Agent Orange,
The Knickerbockers,
Ultravox,
Talk Talk,
Duran Duran,
Marine Girls,
Echo & the Bunnymen,
Deepchord,
Shuggie Otis,
Thompson Twins,
Ultramagnetic MC's,
8 Eyed Spy,
The Searchers,
Audionom,
Pete Rock & C.L. Smooth,
Y Pants,
Lou Reed & John Cale,
Camouflage,
Aural Exciters,
Dead Boys,
Radio Birdman,
Livin' Joy,
Michelle Simonal,
Cabaret Voltaire,
Stiv Bators,
Big Daddy Kane,
Outsiders,
Whodini,
Barbara Tucker,
R.M.O.,
Sight & Sound,
Adolescents,
Susan Cadogan,
Interpol,
MC5,
Liaisons Dangereuses,
H. Thieme,
The Sisters of Mercy,
Country Joe & The Fish,
The Pop Group,
Rotary Connection,
Lucky Dragons,
a-ha,
Eric B and Rakim,
Vainqueur,
The Wake,
New Order,
The United States of America,
Tres Demented,
Second Layer,
Public Image Ltd.,
The Monochrome Set,
Minnie Riperton,
Robert Wyatt,
Arcadia,
The Martian,
The Mighty Diamonds,
Skriet,
The Techniques,
Unrelated Segments,
Sam Rivers,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.