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 South Africa and from Sao Paulo.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bologna and Seoul.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Throbbing Gristle to the rap 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 John Lydon. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Kevin Saunderson,
Sugar Minott,
Warsaw,
The Peanut Butter Conspiracy,
Notorious Big And Bone Thugs,
New York Dolls,
Robert Hood,
X-101,
Scott Walker,
Yusef Lateef,
Yellowson,
Deadbeat,
Nick Fraelich,
Gong,
L. Decosne,
Flipper,
The Stooges,
A Certain Ratio,
Cybotron,
Kool G Rap & DJ Polo,
Underground Resistance,
Ituana,
Mark Hollis,
The Happenings,
The Golliwogs,
Bang On A Can,
Major Organ And The Adding Machine,
Justin Hinds & The Dominoes,
Bootsy's Rubber Band,
Ultimate Spinach,
Motorama,
Suicide,
Girls At Our Best!,
Youth Brigade,
Wighnomy Brothers & Robag Wruhme,
Cheater Slicks,
Kerri Chandler,
The Associates,
Altered Images,
Brick,
Malaria!,
Amon Düül,
Lou Reed,
Fluxion,
Rhythm & Sound,
the Association,
The Blues Magoos,
Marvin Gaye,
Chris & Cosey,
Agitation Free,
Siouxsie and the Banshees,
Sight & Sound,
Magazine,
Davy DMX,
OOIOO,
Andrew Ashong & Theo Parrish,
David McCallum,
Gastr Del Sol,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.