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 Germany and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 The Moody Blues to the grime kids.
I played it at the Spitz.
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 Bauhaus. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Jeru the Damaja 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Dawn Penn,
Bill Wells,
Pete Rock & C.L. Smooth,
CMW,
Scott Walker,
Audionom,
Sparks,
Toni Rubio,
D'Angelo,
Model 500,
Aural Exciters,
Tomorrow,
The Victims,
Rhythm & Sound,
Hardrive,
Technova,
China Crisis,
Nils Olav,
E-Dancer,
Mo-Dettes,
Danielle Patucci,
Thinking Fellers Union Local 282,
Kayak,
L. Decosne,
Tommy Roe,
Camron Feat. Memphis Bleek And Beenie Seigel,
Andrew Ashong & Theo Parrish,
Ronnie Foster,
Bauhaus,
Notorious Big And Bone Thugs,
Can,
Sister Nancy,
Man Eating Sloth,
Guru Guru,
Scion,
Bobby Byrd,
Cabaret Voltaire,
Camouflage,
Robert Hood,
The Moleskins,
Albert Ayler,
Kenny Larkin,
The Fuzztones,
Byron Stingily,
Pole,
Underground Resistance,
Hot Snakes,
Ludus,
Brick,
Unrelated Segments,
Ultra Naté,
Skaos,
X-Ray Spex,
The Selecter,
the Human League,
Neu!,
a-ha,
Jandek,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.