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 Suriname and from Mumbai.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Alison Limerick to the disco kids.
I played it at the Hacienda.
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 Eric Copeland. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Television 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar 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 harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Ultimate Spinach,
Shoche,
Siouxsie and the Banshees,
The Divine Comedy,
Yazoo,
Heaven 17,
Adolescents,
The Young Rascals,
Suicide,
Kango’s Stein Massive,
Little Man,
F. McDonald,
Moss Icon,
Man Eating Sloth,
Deepchord,
Bauhaus,
Jerry Gold Smith,
Dark Day,
New York Dolls,
The Royal Family And The Poor,
Average White Band,
Qualms,
Terror Squad Feat. Camron,
Black Sheep,
Bobbi Humphrey,
Crash Course in Science,
Black Flag,
Reagan Youth,
Rowland S Howard / Lydia Lunch,
Stetsasonic,
The Stooges,
Selector Dub Narcotic,
The Victims,
B.T. Express,
Sonny Sharrock,
T. Rex,
Mark Hollis,
Dorothy Ashby,
Oppenheimer Analysis,
Pharoah Sanders,
Lizzy Mercier Descloux,
Rakim,
Nils Olav,
The Leaves,
Orchestral Manoeuvres in the Dark,
The West Coast Pop Art Experimental Band,
Fad Gadget,
Graham Central Station,
Delta 5,
Eric Copeland,
Audionom,
The Doobie Brothers,
Maurizio,
Tim Buckley,
Jesper Dahlbäck,
Moebius,
The Motions,
The Busters,
Stockholm Monsters,
Fifty Foot Hose,
Barry Ungar,
Pulsallama,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.