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 Venezuela and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
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 güiro sounds with much patience.
I was there when David Bowie 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 Marshall Jefferson to the jazz kids.
I played it at Trash.
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 Divine Comedy. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Skaos 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Section 25,
Intrusion,
Mark Hollis,
the Soft Cell,
Funkadelic,
The Moody Blues,
D'Angelo,
Darondo,
Can,
Tropical Tobacco,
Khruangbin,
David Bowie,
Banda Bassotti,
Procol Harum,
Echo & the Bunnymen,
Blossom Toes,
Gang Gang Dance,
Electric Light Orchestra,
Sun Ra Arkestra,
Organ,
June Days,
The Jesus and Mary Chain,
Wire,
The Saints,
Notorious Big And Bone Thugs,
Juan Atkins,
Grauzone,
Rapeman,
EPMD,
Erasure,
Stetsasonic,
Peter & Gordon,
The Zeros,
Bang On A Can,
the Association,
Fatback Band,
Eric Dolphy,
Judy Mowatt,
Los Fastidios,
Richard Hell and the Voidoids,
Roxette,
Minor Threat,
Young Marble Giants,
Radio Birdman,
The Golliwogs,
The Moleskins,
Terry Callier,
Public Image Ltd.,
Crispian St. Peters,
Pantaleimon,
Half Japanese,
The Index,
The Mojo Men,
The Flesh Eaters,
Deakin,
Supertramp,
Von Mondo,
The Grass Roots,
Barrington Levy,
Dual Sessions,
Todd Rundgren,
Ponytail,
Main Source, Main Source, Main Source, Main Source.
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.