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 Ukraine and from Spokane.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Thompson Twins to the techno 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 Vladislav Delay. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
the Soft Cell,
X-101,
Ludus,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
Sister Nancy,
Franke,
The Smoke,
Byron Stingily,
The Slackers,
Tim Buckley,
Graham Central Station,
Scion,
10cc,
Rowland S Howard / Lydia Lunch,
Aloha Tigers,
Unwound,
Mission of Burma,
Roxette,
Echo & the Bunnymen,
The Star Department,
Sandy B,
Bobby Byrd,
Kango’s Stein Massive,
The Cramps,
the Normal,
Mark Hollis,
Bobby Womack,
Scott Walker + Sunn O))),
Essential Logic,
Lebanon Hanover,
EPMD,
Captain Beefheart & His Magic Band,
Joensuu 1685,
Cybotron,
Colin Newman,
The Royal Family And The Poor,
Arab on Radar,
Man Parrish,
L. Decosne,
Dead Boys,
John Holt,
the Slits,
Lakeside,
The Music Machine,
Mars,
The New Christs,
Stockholm Monsters,
Fluxion,
The Techniques,
Flamin' Groovies,
Black Sheep,
D'Angelo,
Freddie Wadling,
Rufus Thomas,
Circle Jerks,
Mo-Dettes,
The Cure,
Thinking Fellers Union Local 282,
ABC,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.