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 South Africa and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Halifax 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Excepter to the grime 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 Moss Icon. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Idris Muhammad 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Interpol,
Man Eating Sloth,
Soulsonic Force,
Gang Starr,
Smog,
Ituana,
The Slackers,
Glambeats Corp.,
Neil Young & Crazy Horse,
Bobby Hutcherson,
Rhythim Is Rhythim,
Pete Rock & C.L. Smooth,
Jesper Dahlback,
Magma,
Roy Ayers,
Ultravox,
Sonny Sharrock,
Lou Christie,
The Electric Prunes,
Siglo XX,
the Slits,
Thinking Fellers Union Local 282,
Bluetip,
Mr. Review,
Susan Cadogan,
Wally Richardson,
Kurtis Blow,
Judy Mowatt,
Fluxion,
The Royal Family And The Poor,
Sly & The Family Stone,
E-Dancer,
Hashim,
Lizzy Mercier Descloux,
The Invisible,
Mad Mike,
Nation of Ulysses,
T. Rex,
Neu!,
Roy Ayers Ubiquity,
Be Bop Deluxe,
Reagan Youth,
Don Cherry,
Basic Channel,
The Kinks,
Freddie Wadling,
Ten City,
Vladislav Delay,
Intrusion,
Pantytec,
Kenny Larkin,
Faraquet,
Blancmange,
Suicide,
Magazine,
Nas,
The Modern Lovers,
Pole,
Kaleidoscope,
The Star Department, The Star Department, The Star Department, The Star Department.
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.