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 Switzerland and from Copenhagen.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 the Fania All-Stars to the crunk kids.
I played it at the Spitz.
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 Rod Modell. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal jazz 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 a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Con Funk Shun,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
The Cowsills,
Patti Smith,
R.M.O.,
Drexciya,
Moss Icon,
Cybotron,
Archie Shepp,
The Busters,
Faraquet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Raincoats,
The Human League,
Black Bananas,
Brothers Johnson,
Panda Bear,
The Selecter,
Nirvana,
Charles Mingus,
Kool Moe Dee,
Morten Harket,
Public Enemy,
Das Ding,
H. Thieme,
Unrelated Segments,
Monolake,
Cymande,
Yusef Lateef,
Kerri Chandler,
Alison Limerick,
Mark Hollis,
The Detroit Cobras,
Sister Nancy,
Thinking Fellers Union Local 282,
Lee Hazlewood,
Gil Scott-Heron and Jamie xx,
Don Cherry,
Flipper,
Franke,
Jesper Dahlback,
Letta Mbulu,
The Doors,
Radiopuhelimet,
Manfred Mann's Earth Band,
The Moody Blues,
Siouxsie and the Banshees,
Zapp,
Sun City Girls,
Deadbeat,
Groovy Waters,
The Blues Magoos,
Agent Orange,
Hashim,
The Gladiators,
Tomorrow,
The Gap Band,
Tears for Fears,
Selector Dub Narcotic,
The Music Machine,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.