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 Denmark and from Shanghai.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Halifax.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 DNA to the electroclash 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 The Index. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Delon & Dalcan 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 harpsichord and an oboe 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 arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Donald Byrd,
Terry Callier,
Avey Tare & Kría Brekkan,
Subhumans,
Super Lover Cee & Casanova Rud,
Depeche Mode,
Anakelly,
Lizzy Mercier Descloux,
ABBA,
Derrick May,
David Axelrod,
Joensuu 1685,
Ronnie Foster,
Lafayette Afro Rock Band,
Popol Vuh,
Essential Logic,
Second Layer,
The Fall,
Marcia Griffiths,
Scratch Acid,
Audionom,
Silicon Teens,
Lalo Schifrin,
Yellowson,
Sun Ra Arkestra,
Drexciya,
La Düsseldorf,
Connie Case,
The Saints,
Agitation Free,
Bobby Hutcherson,
A Certain Ratio,
Scion,
Eden Ahbez,
The Victims,
The Leaves,
Harmonia,
Altered Images,
Kevin Saunderson,
John Foxx,
The Names,
Pagans,
Banda Bassotti,
The Moody Blues,
Lungfish,
Smog,
Cabaret Voltaire,
Wighnomy Brothers & Robag Wruhme,
Quantec,
Nico,
Tropical Tobacco,
Scrapy,
Kauko Röyhkä ja Narttu,
Eddi Front,
Drive Like Jehu,
The Sound,
The Cowsills,
The Doobie Brothers,
Icehouse,
Maurizio, Maurizio, Maurizio, Maurizio.
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.