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 Cyprus and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Halifax 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 K-Klass to the grime kids.
I played it at the Astoria.
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 Susan Cadogan. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Alison Limerick,
Althea and Donna,
F. McDonald,
Fear,
Scan 7,
Art Ensemble Of Chicago,
Rotary Connection,
Harmonia,
Cybotron,
Brothers Johnson,
Marshall Jefferson,
Arthur Verocai,
Neu!,
The Music Machine,
Youth Brigade,
Excepter,
The Wake,
K-Klass,
Glenn Branca,
Mantronix,
Crash Course in Science,
The Birthday Party,
The Dave Clark Five,
Howard Jones,
The Monochrome Set,
Kool Moe Dee,
Rahsaan Roland Kirk,
Quadrant,
The Human League,
Grauzone,
Sad Lovers and Giants,
Faust,
The Fuzztones,
Ossler,
Laurel Aitken,
John Cale,
Blake Baxter,
Smog,
Mary Jane Girls,
Connie Case,
Echospace,
Intrusion,
DNA,
Minor Threat,
Radio Birdman,
Lou Reed & John Cale,
Blancmange,
Maleditus Sound,
Man Eating Sloth,
Tears for Fears,
Suicide,
FM Einheit,
The Blackbyrds,
Jacques Brel,
Siouxsie and the Banshees,
The Star Department,
Fat Boys,
Roy Ayers Ubiquity,
Kerri Chandler,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.