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 Mauritania 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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Little Man 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 Colin Newman. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
The Evens,
Ralphi Rosario,
The Tremeloes,
Nico,
Joyce Sims,
Hardrive,
Masters at Work,
Mandrill,
Jesper Dahlbäck,
Lou Reed & John Cale,
Rhythm & Sound,
Outsiders,
Talk Talk,
The Move,
Country Teasers,
Juan Atkins,
Joy Division,
Dr. Dre and Snoop Doggy Dog,
Strawberry Alarm Clock,
U.S. Maple,
Ash Ra Tempel,
Youth Brigade,
Iggy Pop,
R.M.O.,
Liliput,
Oneida,
the Normal,
Sad Lovers and Giants,
Bootsy's Rubber Band,
Avey Tare,
Clear Light,
Stockholm Monsters,
John Lydon,
Babytalk,
ABC,
Bauhaus,
Warren Ellis,
Oppenheimer Analysis,
Lizzy Mercier Descloux,
Derrick May,
Alton Ellis,
Terrestrial Tones,
Isaac Hayes,
The Techniques,
Bobby Womack,
Chrome,
The Blues Magoos,
The Fall,
Sound Behaviour,
The West Coast Pop Art Experimental Band,
Darondo,
Tim Buckley,
Tubeway Army,
Wasted Youth,
Ituana,
Toni Rubio,
Jacques Brel,
Joey Negro,
Peter Gordon & Love of Life Orchestra,
Grauzone,
Barrington Levy,
Todd Rundgren,
The Stooges,
Quadrant, Quadrant, Quadrant, Quadrant.
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.