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 Marshall Islands and from Mexico City.
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 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Mumbai 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 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 X-102 to the rock 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 Pylon. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Toni Rubio,
Parry Music,
Tom Boy,
K-Klass,
Kas Product,
Bang on a Can All-Stars,
Red Lorry Yellow Lorry,
Sparks,
Lee Hazlewood,
Make Up,
The Saints,
Throbbing Gristle,
Slick Rick,
Desert Stars,
Wally Richardson,
Thompson Twins,
The Fortunes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mark Hollis,
Ajijia Myrayebe,
Sandy B,
Outsiders,
Robert Hood,
Nirvana,
Cybotron,
Joy Division,
The Five Americans,
London Community Gospel Choir,
Marc Almond,
Rosa Yemen,
The Grass Roots,
Bauhaus,
Sällskapet,
Tommy Roe,
Kool Moe Dee,
Boredoms,
Ultravox,
Crooked Eye,
Pharaoh Sanders and the Fire Engines,
Hardrive,
The Wake,
Derrick Morgan,
The Remains,
Barrington Levy,
Roger Hodgson,
Idris Muhammad,
Stockholm Monsters,
cv313,
Faraquet,
Lindisfarne,
Fela Kuti,
Black Flag,
Flash Fearless,
FM Einheit,
Quando Quango,
Pulsallama,
Au Pairs,
Ornette Coleman,
The Selecter,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.