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 Nicaragua and from Manchester.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school Mumbai 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 808 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 Lower 48 to the electroclash kids.
I played it at Trash.
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 Joey Negro. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
ABC,
OOIOO,
Simply Red,
Dave Gahan,
Pantaleimon,
Visage,
Curtis Mayfield,
Crispian St. Peters,
Heavy D & The Boyz,
Camron Feat. Jay Z And Juelz,
Electric Prunes,
Technova,
The Black Dice,
John Cale,
Graham Central Station,
Organ,
Freddie Wadling,
Khruangbin,
Japan,
The Young Rascals,
Althea and Donna,
The Walker Brothers,
Unrelated Segments,
Lightning Bolt,
The Divine Comedy,
Stetsasonic,
Aural Exciters,
Goldenarms,
The Birthday Party,
the Sonics,
The Saints,
Sonny Sharrock,
Derrick May,
Dr. Dre and Snoop Doggy Dog,
Gong,
Siglo XX,
Rufus Thomas,
Gichy Dan,
Roy Ayers Ubiquity,
Sun Ra Arkestra,
The Gap Band,
UT,
Rekid,
The Victims,
Leonard Cohen,
Heaven 17,
Crispy Ambulance,
Lee Hazlewood,
The Five Americans,
Teenage Jesus and the Jerks,
Loose Ends,
Ronan,
Smog,
Arthur Verocai,
James White and The Blacks,
Unwound,
The Monochrome Set,
Desert Stars,
Lungfish,
The Jesus and Mary Chain,
Jimmy McGriff,
Sugar Minott,
Accadde A,
The Smiths, The Smiths, The Smiths, The Smiths.
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.