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 Austria and from Jakarta.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Stockholm 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Harmonia to the techno kids.
I played it at the 40 Watt.
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 Glambeats Corp.. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal grime 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 a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Organ,
Röyhkä ja Rättö ja Lehtisalo,
The Birthday Party,
Chris Corsano,
Howard Jones,
Pulsallama,
The Wake,
Red Lorry Yellow Lorry,
The Slits,
Country Teasers,
David Bowie,
Judy Mowatt,
The Cramps,
Alison Limerick,
Lafayette Afro Rock Band,
Lalo Schifrin,
This Heat,
Blake Baxter,
Pharoah Sanders,
Malaria!,
Symarip,
Charles Mingus,
The Young Rascals,
Lucky Dragons,
Bronski Beat,
Heavy D & The Boyz,
Soft Machine,
Tropical Tobacco,
Susan Cadogan,
Gil Scott Heron,
The Saints,
Jimmy McGriff,
Crooked Eye,
Gichy Dan,
Kas Product,
Joensuu 1685,
The Barracudas,
Flipper,
MDC,
Colin Newman,
10cc,
Thinking Fellers Union Local 282,
Can,
Underground Resistance,
Crime,
R.M.O.,
Vainqueur,
Peter & Gordon,
Man Eating Sloth,
Mo-Dettes,
JFA,
Bang On A Can,
Funky Four + One,
London Community Gospel Choir,
Lower 48,
AZ,
the Normal,
Archie Shepp,
Das Ding,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.