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 Belarus and from Taipei.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Milan 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 Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Quantec to the techno kids.
I played it at the Crocodile.
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 Alice Coltrane. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Bob Dylan 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Lee Hazlewood,
Blancmange,
Cal Tjader,
Youth Brigade,
Urselle,
Pantaleimon,
The Smiths,
Flipper,
Ultra Naté,
Zapp,
Sly & The Family Stone,
Cluster,
the Slits,
Dead Boys,
Sonny Sharrock,
Ultravox,
The Gap Band,
Blossom Toes,
John Cale,
Symarip,
Arthur Verocai,
Quadrant,
Kool Moe Dee,
The Men They Couldn't Hang,
Mo-Dettes,
The Music Machine,
Bill Wells,
D'Angelo,
Lalo Schifrin,
Boogie Down Productions,
Hasil Adkins,
Lindisfarne,
The Five Americans,
Scrapy,
Mr. Review,
Gian Franco Pienzio,
Derrick May,
Main Source,
Max Romeo,
Visage,
The Blues Magoos,
L. Decosne,
Delon & Dalcan,
Pylon,
Dawn Penn,
Scion,
Robert Wyatt,
Echo & the Bunnymen,
Pharaoh Sanders and the Fire Engines,
Kaleidoscope,
Thinking Fellers Union Local 282,
Lonnie Liston Smith,
Albert Ayler,
Althea and Donna,
the Swans,
Interpol,
Kas Product,
Amon Düül II,
Shoche,
Girls At Our Best!,
a-ha, a-ha, a-ha, a-ha.
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.