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 Peru and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1974.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Gap Band 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 Minnie Riperton. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Glenn Branca,
CMW,
Trumans Water,
Charles Mingus,
Sparks,
Nico,
Ultra Naté,
Kayak,
Fear,
Jesper Dahlbäck,
Bill Near,
The Skatalites,
Kool Moe Dee,
Sister Nancy,
The Slackers,
Cybotron,
The Music Machine,
Darondo,
La Düsseldorf,
Maleditus Sound,
Avey Tare & Kría Brekkan,
Delon & Dalcan,
Kerri Chandler,
Matthew Bourne,
Niagra,
Marshall Jefferson,
Wighnomy Brothers & Robag Wruhme,
Swell Maps,
Bush Tetras,
The Smiths,
Isaac Hayes,
Spandau Ballet,
the Soft Cell,
Iggy Pop,
The Associates,
The Evens,
Sound Behaviour,
Bobby Sherman,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Vaughan Mason & Crew,
Faust,
Jimmy McGriff,
Buzzcocks,
Eric B and Rakim,
Mantronix,
Sight & Sound,
Tres Demented,
The Gladiators,
Michelle Simonal,
Colin Newman,
Yazoo,
The Pretty Things,
Johnny Clarke,
The Trojans,
Black Flag,
Dorothy Ashby,
Stetsasonic,
Magazine,
X-Ray Spex,
New York Dolls,
Yaz,
Japan, Japan, Japan, Japan.
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.