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 Colombia and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Bologna 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord 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 EPMD to the punk kids.
I played it at the Roxy.
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 Monochrome Set. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every 10cc 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Outsiders,
Marmalade,
The Tremeloes,
Brass Construction,
Warren Ellis,
The Evens,
The Cramps,
The Misunderstood,
Albert Ayler,
Toni Rubio,
Todd Rundgren,
Ice-T,
Scrapy,
the Slits,
The Monks,
Scan 7,
Sällskapet,
Chrome,
Crispian St. Peters,
Talk Talk,
Alphaville,
Ten City,
PIL,
Gian Franco Pienzio,
Funkadelic,
Sound Behaviour,
Kaleidoscope,
Average White Band,
Sugar Minott,
Howard Jones,
Bill Near,
Hot Snakes,
the Soft Cell,
Adolescents,
FM Einheit,
Prince Buster,
Joensuu 1685,
The Moleskins,
Gastr Del Sol,
Jesper Dahlback,
Wasted Youth,
Pharaoh Sanders and the Fire Engines,
Audionom,
Kerri Chandler,
Joe Smooth,
Robert Wyatt,
Stiv Bators,
Michelle Simonal,
Newcleus,
Spandau Ballet,
Deakin,
Grandmaster Flash and the Furious Five,
Swell Maps,
June Days,
Main Source,
The West Coast Pop Art Experimental Band,
Massinfluence,
Section 25,
Mission of Burma,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.