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 Panama and from Calgary.
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 Salvador and Jakarta.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Blancmange to the techno kids.
I played it at the Astoria.
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 Bobby Hutcherson. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every John Cale 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Dorothy Ashby,
Andrew Ashong & Theo Parrish,
Peter Gordon & Love of Life Orchestra,
Subhumans,
Mantronix,
Rahsaan Roland Kirk,
The American Breed,
Pantytec,
Severed Heads,
Saccharine Trust,
Black Sheep,
Kerrie Biddell,
The Pretty Things,
Erykah Badu,
48th St. Collective,
Johnny Clarke,
Delta 5,
Black Pus,
Henry Cow,
Captain Beefheart & His Magic Band,
Alton Ellis,
Sex Pistols,
Unrelated Segments,
The Happenings,
Outsiders,
Arcadia,
Electric Prunes,
Crispy Ambulance,
Dual Sessions,
Jesper Dahlbäck,
Erasure,
Aswad,
Matthew Bourne,
Liliput,
Shuggie Otis,
Rites of Spring,
Deutsch Amerikanische Freundschaft,
Simply Red,
Pussy Galore,
Anakelly,
Amazonics,
Masters at Work,
Terrestrial Tones,
Little Man,
Ralphi Rosario,
Quando Quango,
Parry Music,
Thompson Twins,
Amon Düül,
John Coltrane,
Radiopuhelimet,
Scott Walker,
Rakim,
Wighnomy Brothers & Robag Wruhme,
Tim Buckley,
Carl Craig,
Black Flag,
Vainqueur,
Magma,
Moby Grape,
Faust,
Kings Of Tomorrow,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.