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 Haiti and from Jakarta.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Anakelly to the funk 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 Notorious Big And Bone Thugs. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Average White Band,
Piero Umiliani,
The Index,
Sister Nancy,
Sight & Sound,
Crash Course in Science,
The Searchers,
Jeff Lynne,
Agitation Free,
Prince Buster,
Strawberry Alarm Clock,
Bush Tetras,
Newcleus,
Kauko Röyhkä ja Narttu,
Jesper Dahlbäck,
The Black Dice,
Amon Düül II,
Pantaleimon,
This Heat,
Monks,
Aural Exciters,
David Axelrod,
Mark Hollis,
Wasted Youth,
Orchestral Manoeuvres in the Dark,
Jeff Mills,
the Slits,
Juan Atkins,
The Names,
Red Lorry Yellow Lorry,
Make Up,
Skriet,
New York Dolls,
Mission of Burma,
World's Most,
Al Stewart,
Wally Richardson,
Pere Ubu,
Lou Christie,
Reuben Wilson,
UT,
Jacob Miller,
Kerrie Biddell,
Freddie Wadling,
Hoover,
Visage,
John Lydon,
Grandmaster Flash,
Surgeon,
Boz Scaggs,
Bill Wells,
Ituana,
Animal Collective,
The Kinks,
Robert Wyatt,
Trumans Water,
Sonny Sharrock,
Bluetip,
Altered Images,
The Knickerbockers,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.