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 Vietnam and from Salvador.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 LL Cool J to the grunge kids.
I played it at the Troubador.
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 Brick. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Brick,
Red Lorry Yellow Lorry,
Peter and Kerry,
Scott Walker + Sunn O))),
Ralphi Rosario,
Bang On A Can,
Absolute Body Control,
Second Layer,
Sad Lovers and Giants,
Mars,
Public Image Ltd.,
Man Parrish,
Letta Mbulu,
Warsaw,
The Gladiators,
Johnny Clarke,
Interpol,
Ronan,
The Real Kids,
Spandau Ballet,
Chris Corsano,
Alphaville,
The Selecter,
Q65,
Cybotron,
Audionom,
Juan Atkins,
Rekid,
Tropical Tobacco,
Agitation Free,
New Order,
Roxy Music,
The Wake,
Robert Wyatt,
James Chance & The Contortions,
Stereo Dub,
Matthew Halsall,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Man Eating Sloth,
Beasts of Bourbon,
The Divine Comedy,
Albert Ayler,
Mandrill,
The Sisters of Mercy,
Dead Boys,
The Doors,
Hardrive,
K-Klass,
Icehouse,
Khruangbin,
The Shadows of Knight,
Joe Smooth,
Skarface,
Colin Newman,
Johnny Osbourne,
Slave,
Isaac Hayes,
Glambeats Corp.,
Avey Tare & Kría Brekkan,
Deutsch Amerikanische Freundschaft,
the Swans,
The Busters, The Busters, The Busters, The Busters.
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.