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 Poland and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 New York and Philadelphia.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 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 Goldenarms to the disco 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 The Music Machine. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Avey Tare & Kría Brekkan,
The Offenders,
Buzzcocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Peanut Butter Conspiracy,
The Gun Club,
Laurel Aitken,
T. Rex,
Interpol,
Zapp,
Fatback Band,
The Sonics,
Maurizio,
Q65,
Pete Rock & C.L. Smooth,
Fat Boys,
Porter Ricks,
Jawbox,
John Coltrane,
Theoretical Girls,
De La Soul & Jungle Brothers,
Peter and Kerry,
Pylon,
Agitation Free,
Magma,
Sexual Harrassment,
Hashim,
Rapeman,
Vladislav Delay,
Grandmaster Flash,
Todd Rundgren,
Parry Music,
Intrusion,
Babytalk,
Nation of Ulysses,
Prince Buster,
Ossler,
Model 500,
David Bowie,
Patti Smith,
Heaven 17,
Chris & Cosey,
Matthew Halsall,
E-Dancer,
Aural Exciters,
Amazonics,
Cabaret Voltaire,
Pantytec,
Ten City,
Lebanon Hanover,
The Moody Blues,
The Music Machine,
The Fire Engines,
Gregory Isaacs,
Hoover,
AZ,
a-ha,
The Gap Band,
Manfred Mann's Earth Band,
Depeche Mode,
Soulsonic Force,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.