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 Uganda and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Glasgow 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 synthesizer 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 Cameo to the techno kids.
I played it at CBGB's.
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 David Axelrod. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your oboe and bought an organ.
I hear that you and your band have sold your organ and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Henry Cow,
the Association,
Agent Orange,
UT,
Supertramp,
Judy Mowatt,
Lyres,
Depeche Mode,
Sight & Sound,
Crispy Ambulance,
Rod Modell,
Second Layer,
Groovy Waters,
AZ,
Gregory Isaacs,
The Golliwogs,
Marshall Jefferson,
Tres Demented,
Eli Mardock,
Susan Cadogan,
The Count Five,
Joensuu 1685,
Rahsaan Roland Kirk,
Nik Kershaw,
Alton Ellis,
Marine Girls,
Toni Rubio,
Albert Ayler,
Byron Stingily,
Scion,
Lindisfarne,
New Age Steppers,
Sound Behaviour,
ABBA,
Pantytec,
Crime,
The Beau Brummels,
DNA,
DeepChord presents Echospace,
Robert Hood,
Main Source,
Derrick Morgan,
Gerry Rafferty,
Von Mondo,
Bang On A Can,
Sam Rivers,
The Standells,
Zapp,
Kevin Saunderson,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Bluetip,
The West Coast Pop Art Experimental Band,
Infiniti,
The Pretty Things,
Thee Headcoats,
Thinking Fellers Union Local 282,
The Evens,
Major Organ And The Adding Machine,
Idris Muhammad,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.