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 Hungary and from Spokane.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 DJ Style to the punk kids.
I played it at Trash.
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 Wally Richardson. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Magma,
Darondo,
Moebius,
X-102,
Infiniti,
Swans,
Severed Heads,
Livin' Joy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlbäck,
Ludus,
Roxy Music,
Sexual Harrassment,
Carl Craig,
Boredoms,
Ituana,
Liaisons Dangereuses,
Lower 48,
Matthew Bourne,
The Fugs,
Deadbeat,
Gerry Rafferty,
Godley & Creme,
Alison Limerick,
Nils Olav,
Peter and Kerry,
Sandy B,
Little Man,
Johnny Osbourne,
T.S.O.L.,
Parry Music,
MDC,
Television,
Gil Scott-Heron and Jamie xx,
Gil Scott-Heron & Brian Jackson,
The Zeros,
EPMD,
Bizarre Inc.,
H. Thieme,
Q and Not U,
ABBA,
Excepter,
The Motions,
The Skatalites,
Terry Callier,
Gong,
the Soft Cell,
The Busters,
Basic Channel,
E-Dancer,
Kango’s Stein Massive,
Rosa Yemen,
The Sisters of Mercy,
Kaleidoscope,
The Vogues,
Byron Stingily,
Eric B and Rakim,
Bobby Byrd,
The Blues Magoos,
The Alarm Clocks,
Graham Central Station,
Monks, Monks, Monks, Monks.
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.