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 Liberia and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when David Bowie 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 X-102 to the dance kids.
I played it at the Troubador.
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 Procol Harum. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
John Holt,
Circle Jerks,
Spandau Ballet,
Eric B and Rakim,
Crispian St. Peters,
Altered Images,
Pylon,
Television Personalities,
Amazonics,
the Sonics,
Bill Wells,
Archie Shepp,
Brand Nubian,
Notorious Big And Bone Thugs,
New Age Steppers,
Nik Kershaw,
the Association,
Sugar Minott,
Alice Coltrane,
Aaron Thompson,
Eden Ahbez,
Nick Cave & The Bad Seeds,
Chris & Cosey,
The Monochrome Set,
Sandy B,
Organ,
The Human League,
Fela Kuti,
Cymande,
Eve St. Jones,
The Cowsills,
Flipper,
Althea and Donna,
Flash Fearless,
Arthur Verocai,
Funkadelic,
The United States of America,
The Standells,
Grauzone,
Barrington Levy,
Slick Rick,
Tim Buckley,
DNA,
The Blues Magoos,
Alton Ellis,
Radio Birdman,
The Gladiators,
The Raincoats,
ABC,
The Birthday Party,
Terrestrial Tones,
Deutsch Amerikanische Freundschaft,
Nas,
The Royal Family And The Poor,
Pharaoh Sanders and the Fire Engines,
Hasil Adkins,
Liaisons Dangereuses,
Oppenheimer Analysis,
Ultramagnetic MC's,
Matthew Halsall,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.