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 Colombia and from Madrid.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Blake Baxter to the dance kids.
I played it at the Hacienda.
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 Susan Cadogan. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
The Human League,
Roxy Music,
Skriet,
Niagra,
Bizarre Inc.,
Rhythm & Sound,
Mission of Burma,
UT,
Marc Romboy vs. Booka Shade,
Quantec,
Rufus Thomas,
Grauzone,
Derrick Morgan,
Letta Mbulu,
the Soft Cell,
K-Klass,
T. Rex,
Minny Pops,
Blake Baxter,
The Birthday Party,
Lakeside,
The Pop Group,
Richard Hell and the Voidoids,
Rites of Spring,
Con Funk Shun,
Q65,
The Angels of Light,
The Modern Lovers,
Aaron Thompson,
Pagans,
Suburban Knight,
Lindisfarne,
Qualms,
The Residents,
Eric Copeland,
Lebanon Hanover,
Joey Negro,
Sam Rivers,
Barbara Tucker,
The Happenings,
Urselle,
Brand Nubian,
The Move,
Alton Ellis,
Khruangbin,
The Golliwogs,
Franke,
Bauhaus,
The Red Krayola,
Main Source,
Joensuu 1685,
Prince Buster,
Goldenarms,
Boz Scaggs,
Chrome,
The Remains,
U.S. Maple,
Masters at Work,
The Blackbyrds,
Gichy Dan,
the Fania All-Stars,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.