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 Saudi Arabia and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1975.
I'm losing my edge.
To all the kids in Lagos and Cairo.
I'm losing my edge to the art-school Copenhagen 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 rhodes 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 Royal Trux to the electroclash kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Lizzy Mercier Descloux,
Black Pus,
Terrestrial Tones,
DNA,
Swell Maps,
The Litter,
Ultimate Spinach,
James White and The Blacks,
Q and Not U,
Eve St. Jones,
Strawberry Alarm Clock,
David Axelrod,
Stockholm Monsters,
The Neon Judgement,
The Wake,
Malaria!,
Jeff Mills,
The Slits,
Flamin' Groovies,
Bobby Hutcherson,
Eric Dolphy,
Oppenheimer Analysis,
Sight & Sound,
Yaz,
Unwound,
Althea and Donna,
Ronnie Foster,
Dark Day,
DeepChord presents Echospace,
Frankie Knuckles,
Mad Mike,
The Sisters of Mercy,
Brand Nubian,
Severed Heads,
Procol Harum,
The Monochrome Set,
Siouxsie and the Banshees,
Circle Jerks,
Monolake,
The Tremeloes,
Lee Hazlewood,
Bobby Sherman,
Bluetip,
Barclay James Harvest,
The J.B.'s,
Accadde A,
Gil Scott Heron,
T. Rex,
Bobbi Humphrey,
The Cowsills,
Slave,
The Chocolate Watch Band,
The Barracudas,
Pole,
Magma,
Ken Boothe,
Average White Band,
Spandau Ballet,
One Last Wish,
Agent Orange,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.