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 Syria and from Sao Paulo.
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 1979.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Pierre Henry to the grime 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 Arab on Radar. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Moss Icon,
The Electric Prunes,
Gabor Szabo,
Neil Young & Crazy Horse,
Black Bananas,
Aswad,
New York Dolls,
Sällskapet,
Piero Umiliani,
Hardrive,
Scrapy,
David Axelrod,
Jimmy McGriff,
R.M.O.,
Bobbi Humphrey,
U.S. Maple,
The Knickerbockers,
Junior Murvin,
the Bar-Kays,
Warsaw,
Idris Muhammad,
Little Man,
Joe Finger,
Panda Bear,
Monolake,
Mr. Review,
Angry Samoans,
Sarah Menescal,
The Cosmic Jokers,
Blake Baxter,
Kenny Larkin,
Clear Light,
Curtis Mayfield,
Joe Smooth,
The Vogues,
Orchestral Manoeuvres in the Dark,
Pole,
Pulsallama,
The Victims,
The Remains,
ABBA,
Wire,
Minutemen,
Jesper Dahlback,
Pet Shop Boys,
Model 500,
Duran Duran,
Accadde A,
Leonard Cohen,
Davy DMX,
Kas Product,
The Fire Engines,
Sparks,
Minnie Riperton,
Traffic Nightmare,
Dark Day,
Hot Snakes,
Rosa Yemen,
Pylon,
The Misunderstood,
Shoche, Shoche, Shoche, Shoche.
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.