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 El Salvador and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Woodstock 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 spring reverb 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 Juan Atkins to the jazz kids.
I played it at the Troubador.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Ossler,
Aaron Thompson,
Danielle Patucci,
Larry & the Blue Notes,
Negative Approach,
Rhythim Is Rhythim,
Pole,
Minny Pops,
Sun City Girls,
Eden Ahbez,
Orchestral Manoeuvres in the Dark,
Rites of Spring,
Aloha Tigers,
Richard Hell and the Voidoids,
The Offenders,
Eric Dolphy,
Tommy Roe,
Skaos,
Charles Mingus,
Von Mondo,
Amon Düül,
Minor Threat,
Sexual Harrassment,
Funkadelic,
X-101,
Tears for Fears,
Jeff Lynne,
Anakelly,
Brand Nubian,
The Index,
The Blues Magoos,
Scratch Acid,
Vaughan Mason & Crew,
Excepter,
X-Ray Spex,
Lyres,
Big Daddy Kane,
June of 44,
Easy Going,
Johnny Osbourne,
Lalann,
Joe Smooth,
Camberwell Now,
The Names,
Sun Ra Arkestra,
Cymande,
Robert Hood,
Sparks,
Donald Byrd,
The Evens,
Gary Puckett & The Union Gap,
Neil Young & Crazy Horse,
Eddi Front,
Blossom Toes,
Swell Maps,
Symarip,
Motorama,
The Golliwogs,
The Last Poets,
Ultramagnetic MC's,
Unwound, Unwound, Unwound, Unwound.
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.