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 Iran and from Accra.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Taipei 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 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 Howard Jones to the rock 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 Country Joe & The Fish. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
The Sisters of Mercy,
The Durutti Column,
Anakelly,
Jerry's Kids,
Be Bop Deluxe,
Eric B and Rakim,
Ituana,
Whodini,
The American Breed,
Tears for Fears,
Barclay James Harvest,
The Birthday Party,
Mad Mike,
Barrington Levy,
Marshall Jefferson,
The Moody Blues,
Pole,
Gabor Szabo,
Richard Hell and the Voidoids,
John Cale,
Brand Nubian,
ABBA,
Rotary Connection,
DeepChord presents Echospace,
Sam Rivers,
Nick Fraelich,
Camberwell Now,
U.S. Maple,
Echo & the Bunnymen,
World's Most,
Roger Hodgson,
Jawbox,
KRS-One,
Ornette Coleman,
Tropical Tobacco,
Sparks,
The Raincoats,
Michelle Simonal,
The Count Five,
Marmalade,
The Residents,
kango's stein massive,
Intrusion,
Arthur Verocai,
The Shadows of Knight,
Mission of Burma,
Blake Baxter,
Wasted Youth,
Little Man,
Gang Green,
L. Decosne,
Gary Puckett & The Union Gap,
Thinking Fellers Union Local 282,
Cameo,
Funky Four + One,
Bizarre Inc.,
Liaisons Dangereuses,
Porter Ricks,
Neu!,
Patti Smith,
James Chance & The Contortions,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.