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 Pakistan and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1974.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Infiniti to the grime 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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Motions,
Aaron Thompson,
Siglo XX,
Index,
Heaven 17,
Nik Kershaw,
X-101,
Rekid,
John Holt,
Ken Boothe,
R.M.O.,
Letta Mbulu,
Skaos,
David Bowie,
E-Dancer,
New Age Steppers,
Ice-T,
Darondo,
Brass Construction,
Mandrill,
the Association,
Dual Sessions,
The Names,
Cabaret Voltaire,
Bobby Byrd,
Cybotron,
Reagan Youth,
Sister Nancy,
Graham Central Station,
The Star Department,
Roxy Music,
Chrome,
The Cure,
Black Pus,
Metal Thangz,
FM Einheit,
Stiv Bators,
Maleditus Sound,
Amon Düül II,
Scientists,
Wolf Eyes,
Marvin Gaye,
Rahsaan Roland Kirk,
The Offenders,
Cal Tjader,
Country Teasers,
Magazine,
Drive Like Jehu,
Justin Hinds & The Dominoes,
Ohio Players,
Bang On A Can,
Bad Manners,
Pussy Galore,
Pulsallama,
AZ,
The Smoke,
Organ,
The Birthday Party,
Traffic Nightmare,
The Pretty Things,
Angry Samoans,
The Happenings, The Happenings, The Happenings, The Happenings.
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.