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 St Lucia and from Shanghai.
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 1969 to 1970.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 the Swans to the funk kids.
I played it at the 40 Watt.
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 Maleditus Sound. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Minnie Riperton 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
The West Coast Pop Art Experimental Band,
Stetsasonic,
H. Thieme,
Big Daddy Kane,
Cabaret Voltaire,
Hardrive,
Black Sheep,
Jesper Dahlback,
The Slits,
Intrusion,
Ash Ra Tempel,
Minnie Riperton,
Lyres,
Motorama,
Crispy Ambulance,
New Order,
Saccharine Trust,
Chris & Cosey,
Fluxion,
Franke,
Tropical Tobacco,
Bobby Hutcherson,
Wire,
X-101,
World's Most,
Lonnie Liston Smith,
Nation of Ulysses,
Colin Newman,
Bauhaus,
Faraquet,
Bobbi Humphrey,
Average White Band,
Sixth Finger,
The Mojo Men,
Jeff Lynne,
Faust,
Yazoo,
James Chance & The Contortions,
Altered Images,
Cheater Slicks,
Electric Light Orchestra,
Skaos,
Swans,
Make Up,
the Association,
Bobby Sherman,
Royal Trux,
Eyeless In Gaza,
Jandek,
Simply Red,
The Trojans,
Rapeman,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
Curtis Mayfield,
DJ Style,
the Fania All-Stars,
Inner City,
Index,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.