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 Norway and from Bremen.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and Tehran.
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 1980 at the first Cybotron 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 Isaac Hayes to the techno kids.
I played it at the 40 Watt.
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 The Alarm Clocks. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every The Cramps 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
The Doobie Brothers,
Mandrill,
The Mummies,
Bush Tetras,
A Flock of Seagulls,
The Jesus and Mary Chain,
Harpers Bizarre,
Mark Hollis,
The Men They Couldn't Hang,
Bill Wells,
Notorious BIG live in Amsterdam,
The Dead C,
Tomorrow,
Radiohead,
Yaz,
Rapeman,
Japan,
Outsiders,
PIL,
Marmalade,
Gichy Dan,
Bob Dylan,
Bobby Hutcherson,
ABBA,
Joyce Sims,
Grey Daturas,
Soul II Soul,
Steve Hackett,
MC5,
Leonard Cohen,
the Slits,
OOIOO,
the Sonics,
Excepter,
Sister Nancy,
Oppenheimer Analysis,
Altered Images,
Joensuu 1685,
Au Pairs,
DJ Sneak,
Laurel Aitken,
Fort Wilson Riot,
the Fania All-Stars,
The Martian,
The Evens,
Depeche Mode,
Wighnomy Brothers & Robag Wruhme,
Terrestrial Tones,
Tommy Roe,
Basic Channel,
Quando Quango,
Fluxion,
KRS-One,
EPMD,
Technova,
John Lydon,
The Doors,
Wings,
Iggy Pop,
The Slits,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.