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 Peru and from Taipei.
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 Paris and Philadelphia.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 Joyce Sims to the funk 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 Goldenarms. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
cv313,
Danielle Patucci,
Depeche Mode,
Trumans Water,
Ronnie Foster,
Sällskapet,
Sunsets and Hearts,
Thompson Twins,
JFA,
Sparks,
The Skatalites,
Pagans,
Hot Snakes,
Andrew Ashong & Theo Parrish,
A Certain Ratio,
Essential Logic,
Peter and Kerry,
Arthur Verocai,
Delon & Dalcan,
The Shadows of Knight,
The Motions,
Mantronix,
Anakelly,
Cybotron,
Deutsch Amerikanische Freundschaft,
H. Thieme,
Neu!,
The Electric Prunes,
The Trojans,
The Sonics,
Be Bop Deluxe,
Gil Scott Heron,
Bob Dylan,
June Days,
Jesper Dahlbäck,
Ponytail,
EPMD,
The Barracudas,
Das Ding,
New Order,
Anthony Braxton,
The Dave Clark Five,
Rhythm & Sound,
New York Dolls,
Nick Cave & The Bad Seeds,
Aaron Thompson,
The Cure,
The Gladiators,
Banda Bassotti,
The Durutti Column,
Vainqueur,
Jerry's Kids,
Barry Ungar,
The Leaves,
Pete Rock & C.L. Smooth,
Bluetip,
Black Bananas,
Cymande,
Spoonie Gee,
Harmonia,
Joe Finger,
Fat Boys,
Junior Murvin,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.