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 Johannesburg.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Seoul 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Alphaville to the rock 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 Easy Going. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Gap Band,
DJ Sneak,
John Lydon,
Eric B and Rakim,
Avey Tare's Slasher Flicks,
Hot Snakes,
B.T. Express,
Yellowson,
New York Dolls,
Von Mondo,
Alison Limerick,
Strawberry Alarm Clock,
Oneida,
Gang Starr,
Nation of Ulysses,
The Slackers,
Banda Bassotti,
Andrew Ashong & Theo Parrish,
Moss Icon,
Skaos,
Soft Machine,
Cameo,
Siglo XX,
Pylon,
John Holt,
The Smiths,
Scrapy,
David McCallum,
FM Einheit,
Matthew Halsall,
Loose Ends,
Tropical Tobacco,
The Kinks,
Scratch Acid,
Aswad,
Severed Heads,
Vladislav Delay,
Delon & Dalcan,
Moebius,
The Flesh Eaters,
David Axelrod,
Zapp,
Interpol,
Electric Prunes,
Crime,
Ultimate Spinach,
Bad Manners,
The Litter,
Marine Girls,
Barrington Levy,
Saccharine Trust,
Franke,
Model 500,
The Star Department,
Bill Wells,
Neu!,
Heaven 17,
The Monochrome Set,
Roxette,
Anthony Braxton,
Kas Product, Kas Product, Kas Product, Kas Product.
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.