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 Micronesia and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Mexico City 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 Wire practice in a loft in Watford.
I was working on the güiro 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 Terry Callier to the dance 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 The Standells. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Busters,
Heaven 17,
Rod Modell,
Notorious Big And Bone Thugs,
D'Angelo,
Erasure,
Panda Bear,
Liaisons Dangereuses,
DNA,
Q and Not U,
The Selecter,
Darondo,
the Germs,
Idris Muhammad,
Faraquet,
Lou Reed & John Cale,
Pharaoh Sanders and the Fire Engines,
Stetsasonic,
The Standells,
Orchestral Manoeuvres in the Dark,
Infiniti,
The Names,
Aswad,
Excepter,
Fear,
Agent Orange,
AZ,
Chris Corsano,
Gil Scott Heron,
KRS-One,
Wighnomy Brothers & Robag Wruhme,
Bobby Womack,
A Certain Ratio,
Major Organ And The Adding Machine,
Joensuu 1685,
Tubeway Army,
Blake Baxter,
Gang Green,
Boz Scaggs,
The Remains,
The Cure,
The Pop Group,
U.S. Maple,
Rhythm & Sound,
Eddi Front,
Siglo XX,
Sexual Harrassment,
The Electric Prunes,
Drive Like Jehu,
Kenny Larkin,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Chrome,
Byron Stingily,
Curtis Mayfield,
Todd Rundgren,
Rakim,
Archie Shepp,
Bad Manners,
Bauhaus,
Monks,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.