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 Pakistan and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Paris 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 Robert Palmer 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 Jesper Dahlback to the disco kids.
I played it at the Crocodile.
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 Cowsills. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Das Ding,
Drexciya,
The Sisters of Mercy,
The Angels of Light,
Dual Sessions,
Sad Lovers and Giants,
Drive Like Jehu,
Gian Franco Pienzio,
Marshall Jefferson,
Quantec,
Eyeless In Gaza,
Boredoms,
Ralphi Rosario,
Black Bananas,
The Tremeloes,
Peter & Gordon,
The Young Rascals,
Lou Reed & Metallica,
The Pop Group,
Bootsy's Rubber Band,
Au Pairs,
The Sound,
Pet Shop Boys,
the Germs,
Rotary Connection,
Siouxsie and the Banshees,
Kaleidoscope,
Susan Cadogan,
Symarip,
Blancmange,
Mandrill,
Severed Heads,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Duran Duran,
The Remains,
Youth Brigade,
Radiopuhelimet,
Dead Boys,
The Durutti Column,
Prince Buster,
Nik Kershaw,
Louis and Bebe Barron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bronski Beat,
Arcadia,
R.M.O.,
Fela Kuti,
Quando Quango,
Marc Romboy vs. Booka Shade,
Technova,
The Index,
Gregory Isaacs,
UT,
Sonic Youth,
Subhumans,
Anakelly,
Josef K,
John Foxx,
Bobby Sherman,
The Slackers,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.