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 Australia and from Shanghai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Toronto 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 theremin 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 The Cure to the punk 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 Reuben Wilson. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Moby Grape,
Matthew Halsall,
The Leaves,
Graham Central Station,
Rites of Spring,
Davy DMX,
Drive Like Jehu,
Organ,
Niagra,
John Foxx,
MDC,
Tropical Tobacco,
the Association,
Bob Dylan,
The Divine Comedy,
Man Parrish,
Ludus,
The Star Department,
Bobby Sherman,
Gang Green,
Aswad,
Yellowson,
Nick Cave & The Bad Seeds,
the Swans,
Letta Mbulu,
Skriet,
Schoolly D,
Clear Light,
Barbara Tucker,
Delon & Dalcan,
Parry Music,
Isaac Hayes,
D'Angelo,
Boogie Down Productions,
Terrestrial Tones,
Vainqueur,
Sad Lovers and Giants,
ABC,
Circle Jerks,
The Skatalites,
Kevin Saunderson,
Bauhaus,
The Moleskins,
Visage,
the Fania All-Stars,
Judy Mowatt,
Jacob Miller,
Monolake,
Black Pus,
Accadde A,
Erykah Badu,
Sexual Harrassment,
Unwound,
the Slits,
Cecil Taylor,
Rowland S Howard / Lydia Lunch,
Intrusion,
Wolf Eyes,
Juan Atkins,
Stereo Dub,
Infiniti,
Dorothy Ashby,
The Doors, The Doors, The Doors, The Doors.
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.