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 Andorra and from Beijing.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 clarinet 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 Patti Smith to the techno kids.
I played it at the Spitz.
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 Wally Richardson. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
The Moleskins,
Rhythm & Sound,
The Peanut Butter Conspiracy,
Cecil Taylor,
Skaos,
The Dead C,
Slave,
Vainqueur,
Bobby Hutcherson,
Camberwell Now,
Camouflage,
K-Klass,
the Swans,
The Monochrome Set,
Neil Young & Crazy Horse,
Niagra,
The Monks,
Röyhkä ja Rättö ja Lehtisalo,
Fad Gadget,
Jacques Brel,
Hashim,
Simply Red,
Donny Hathaway,
Ronnie Foster,
Youth Brigade,
Pantaleimon,
The West Coast Pop Art Experimental Band,
Maurizio,
Clear Light,
Gil Scott Heron,
Delon & Dalcan,
Lindisfarne,
The Doors,
Marshall Jefferson,
Hardrive,
Orchestral Manoeuvres in the Dark,
Country Joe & The Fish,
The Standells,
Intrusion,
Oneida,
Lee Hazlewood,
The J.B.'s,
MC5,
The Motions,
Fluxion,
The Sonics,
Y Pants,
Chris & Cosey,
Toni Rubio,
The Associates,
DJ Sneak,
Roy Ayers Ubiquity,
Section 25,
Frankie Knuckles,
Sister Nancy,
Dennis Brown,
Major Organ And The Adding Machine,
The Kinks,
Freddie Wadling,
Ash Ra Tempel,
Spoonie Gee,
Faraquet, Faraquet, Faraquet, Faraquet.
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.