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 China and from Sao Paulo.
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 1979.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Bad Manners to the jazz kids.
I played it at the Hacienda.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Banda Bassotti 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 '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Royal Trux,
Khruangbin,
Lafayette Afro Rock Band,
Orchestral Manoeuvres in the Dark,
The Dead C,
Pole,
Girls At Our Best!,
Camouflage,
Oneida,
OOIOO,
Unrelated Segments,
Nils Olav,
Morten Harket,
The Last Poets,
Tropical Tobacco,
Jacques Brel,
Fela Kuti,
Wally Richardson,
Nick Cave & The Bad Seeds,
John Cale,
Oppenheimer Analysis,
The Birthday Party,
Sonny Sharrock,
Radio Birdman,
Alison Limerick,
New Order,
ABBA,
Bill Wells,
Skaos,
The Star Department,
Cluster,
Gong,
Marcia Griffiths,
The Move,
Jesper Dahlbäck,
Captain Beefheart & His Magic Band,
Fugazi,
Yaz,
Sandy B,
Bobbi Humphrey,
The Offenders,
Black Moon,
Sällskapet,
Joe Smooth,
The Jesus and Mary Chain,
Peter & Gordon,
Robert Görl,
Cabaret Voltaire,
the Association,
Avey Tare & Kría Brekkan,
Deakin,
Yazoo,
Johnny Osbourne,
Stiv Bators,
Vaughan Mason & Crew,
Zero Boys,
Soul II Soul,
AZ,
David McCallum,
New Age Steppers,
Grandmaster Flash,
The Shadows of Knight,
Drexciya, Drexciya, Drexciya, Drexciya.
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.