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 Benin and from Tokyo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Stockholm 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 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 The Saints to the jazz kids.
I played it at the Roxy.
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 Lyres. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Barclay James Harvest 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Stetsasonic,
Sam Rivers,
Sun Ra,
Agitation Free,
New Age Steppers,
Kevin Saunderson,
Ornette Coleman,
Kings Of Tomorrow,
Black Flag,
Bobby Hutcherson,
Bronski Beat,
Ronan,
Judy Mowatt,
Dark Day,
EPMD,
The Monks,
Crooked Eye,
Adolescents,
Morten Harket,
Index,
Grauzone,
Alison Limerick,
Andrew Hill,
The Leaves,
Quando Quango,
Can,
X-Ray Spex,
Max Romeo,
Don Cherry,
Cymande,
Kerrie Biddell,
Con Funk Shun,
Mandrill,
Soul II Soul,
Barbara Tucker,
Monolake,
ABC,
Lou Christie,
Suicide,
Matthew Bourne,
the Normal,
The Index,
Mars,
Skriet,
Ituana,
Louis and Bebe Barron,
Graham Central Station,
Radiopuhelimet,
World's Most,
Monks,
Essential Logic,
Pole,
Harry Pussy,
Marc Romboy vs. Booka Shade,
Tropical Tobacco,
Traffic Nightmare,
The Walker Brothers,
Eyeless In Gaza,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.