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 Tuvalu and from Johannesburg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Taipei 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 Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Michelle Simonal to the dance 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 Das Ding. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Joy Division,
The Sound,
DeepChord presents Echospace,
The Electric Prunes,
Monolake,
Rakim,
Moby Grape,
Curtis Mayfield,
cv313,
Sex Pistols,
Neil Young & Crazy Horse,
Aaron Thompson,
Minny Pops,
Young Marble Giants,
Bizarre Inc.,
Sällskapet,
Terrestrial Tones,
Ken Boothe,
Lonnie Liston Smith,
Supertramp,
Flipper,
Gian Franco Pienzio,
The Gladiators,
the Human League,
Janne Schatter,
Michelle Simonal,
Ash Ra Tempel,
Zapp,
Rod Modell,
Newcleus,
Big Daddy Kane,
Scratch Acid,
Lou Christie,
MDC,
CMW,
Byron Stingily,
Jacob Miller,
Ten City,
Bill Near,
EPMD,
Erasure,
Lou Reed & John Cale,
The Selecter,
A Flock of Seagulls,
Warren Ellis,
Skarface,
The Cowsills,
DJ Style,
Ultra Naté,
The New Christs,
Electric Light Orchestra,
The Dead C,
Brass Construction,
Tres Demented,
Lucky Dragons,
Glenn Branca,
Rosa Yemen,
Flash Fearless,
The Victims,
Absolute Body Control,
Accadde A,
The Fuzztones,
Magazine,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.