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 Paraguay and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Eric Copeland to the dance 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 John Holt. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Peter Gordon & Love of Life Orchestra,
Lee Hazlewood,
Ohio Players,
Roger Hodgson,
Graham Central Station,
Notorious Big And Bone Thugs,
Terry Callier,
Black Flag,
Heaven 17,
Soul II Soul,
World's Most,
Ornette Coleman,
Kenny Larkin,
Aaron Thompson,
Fluxion,
Silicon Teens,
Masters at Work,
Negative Approach,
Blancmange,
Darondo,
Monolake,
Cal Tjader,
Davy DMX,
K-Klass,
Johnny Osbourne,
Half Japanese,
The Fortunes,
Scientists,
Lou Reed & Metallica,
Pet Shop Boys,
The Trojans,
Selector Dub Narcotic,
Kauko Röyhkä ja Narttu,
The Leaves,
Glambeats Corp.,
Joey Negro,
Jacques Brel,
Laurel Aitken,
Eli Mardock,
The Mummies,
the Human League,
Cheater Slicks,
Gastr Del Sol,
Bill Wells,
Boz Scaggs,
Nas,
Sugar Minott,
Gary Puckett & The Union Gap,
Dennis Brown,
The Fuzztones,
Scratch Acid,
Arab on Radar,
Scion,
Echospace,
Cymande,
Jeff Mills,
Isaac Hayes,
Ultra Naté,
Lou Reed & John Cale,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.