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 Hong Kong.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Rhythm & Sound to the disco 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 Public Image Ltd.. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Marcia Griffiths,
Boredoms,
Fluxion,
The West Coast Pop Art Experimental Band,
Marmalade,
The Fall,
Gil Scott-Heron & Brian Jackson,
The Electric Prunes,
the Swans,
Roy Ayers,
Funky Four + One,
Urselle,
The Blackbyrds,
Throbbing Gristle,
Big Daddy Kane,
Nick Fraelich,
Au Pairs,
Jesper Dahlbäck,
China Crisis,
Gil Scott Heron,
The Sound,
Bootsy Collins,
Accadde A,
Sarah Menescal,
Art Ensemble Of Chicago,
Amon Düül,
Rahsaan Roland Kirk,
Oppenheimer Analysis,
The Fugs,
F. McDonald,
Gastr Del Sol,
Roxette,
Dave Gahan,
Kango’s Stein Massive,
Lungfish,
DNA,
The Gap Band,
The Smoke,
World's Most,
X-101,
Make Up,
L. Decosne,
Terry Callier,
Babytalk,
James Chance & The Contortions,
The Cosmic Jokers,
FM Einheit,
Barrington Levy,
Marc Almond,
The Leaves,
Lou Reed & John Cale,
Max Romeo,
Andrew Ashong & Theo Parrish,
Parry Music,
Boogie Down Productions,
Mandrill,
The Mummies,
Deadbeat,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.