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 Germany and from Columbus.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lagos and Beijing.
I'm losing my edge to the art-school New York 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Throbbing Gristle to the techno kids.
I played it at Cafe Wha.
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 Roxette. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every FM Einheit 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Godley & Creme,
Glenn Branca,
The Grass Roots,
Jandek,
DNA,
Angry Samoans,
Electric Light Orchestra,
Gang of Four,
Moss Icon,
Kauko Röyhkä ja Narttu,
Alton Ellis,
Oppenheimer Analysis,
MC5,
The Kinks,
Easy Going,
Monolake,
Thompson Twins,
Magazine,
The Pop Group,
Echospace,
Newcleus,
Kayak,
the Germs,
Goldenarms,
8 Eyed Spy,
June Days,
The Sonics,
Ten City,
Lou Christie,
Mission of Burma,
Crooked Eye,
Blancmange,
Marshall Jefferson,
Chris & Cosey,
Colin Newman,
Q65,
Qualms,
Carl Craig,
B.T. Express,
Donald Byrd,
Electric Prunes,
Erasure,
Magma,
Larry & the Blue Notes,
Swans,
The Fire Engines,
Pere Ubu,
Livin' Joy,
Gabor Szabo,
Rhythm & Sound,
T. Rex,
The Royal Family And The Poor,
Super Lover Cee & Casanova Rud,
Danielle Patucci,
Barbara Tucker,
Wasted Youth,
Talk Talk,
Albert Ayler,
Lalo Schifrin,
Howard Jones,
Schoolly D,
Skaos, Skaos, Skaos, Skaos.
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.