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 Mauritius and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Holger Czukay 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 Velvet Underground to the techno kids.
I played it at the 40 Watt.
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 Marmalade. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Henry Cow,
the Sonics,
Little Man,
The Walker Brothers,
Brand Nubian,
The Vogues,
Amon Düül,
Richard Hell and the Voidoids,
Strawberry Alarm Clock,
Gil Scott-Heron and Jamie xx,
Magazine,
Bluetip,
Soft Cell,
Roy Ayers Ubiquity,
The Velvet Underground,
Jesper Dahlback,
Heaven 17,
Glenn Branca,
Byron Stingily,
Sun City Girls,
Section 25,
Grauzone,
MDC,
Marine Girls,
B.T. Express,
Gang Starr,
The Move,
The Detroit Cobras,
Albert Ayler,
John Cale,
Jeru the Damaja,
Essential Logic,
Angels of Light & Akron/Family,
Andrew Hill,
The Gap Band,
Minnie Riperton,
Adolescents,
the Human League,
Red Lorry Yellow Lorry,
Ituana,
Slick Rick,
The Mummies,
Cameo,
The Angels of Light,
Tom Boy,
L. Decosne,
Lyres,
The Tremeloes,
X-101,
Yaz,
The Grass Roots,
New York Dolls,
Bill Near,
Shuggie Otis,
Lee Hazlewood,
Sound Behaviour,
Newcleus,
Kevin Saunderson,
Man Parrish,
Young Marble Giants,
Larry & the Blue Notes,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.