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 Slovenia and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Spokane.
I'm losing my edge to the art-school Delhi 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 guitar sounds with much patience.
I was there when Robert Palmer 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 James White and The Blacks to the techno kids.
I played it at the Troubador.
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 Janne Schatter. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Cramps,
Eric B and Rakim,
The Mojo Men,
Minutemen,
The Standells,
Throbbing Gristle,
Peter Gordon & Love of Life Orchestra,
Terrestrial Tones,
Blancmange,
Amon Düül II,
Letta Mbulu,
Q and Not U,
The Dead C,
The Chocolate Watch Band,
The Offenders,
Pete Rock & C.L. Smooth,
Marc Romboy vs. Booka Shade,
Johnny Osbourne,
PIL,
The American Breed,
Buzzcocks,
The Cowsills,
The Detroit Cobras,
Sixth Finger,
The Birthday Party,
Dual Sessions,
Silicon Teens,
The Evens,
Pet Shop Boys,
Rosa Yemen,
Gang Starr,
Pylon,
Fifty Foot Hose,
Teenage Jesus and the Jerks,
James Chance & The Contortions,
Yellowson,
Rhythm & Sound,
The Mighty Diamonds,
Popol Vuh,
Swell Maps,
Joyce Sims,
Altered Images,
Charles Mingus,
Ossler,
Arab on Radar,
Absolute Body Control,
The Seeds,
Quando Quango,
B.T. Express,
Robert Hood,
The Slackers,
John Cale,
Camberwell Now,
Agent Orange,
Crispian St. Peters,
Suburban Knight,
Agitation Free,
Iggy Pop,
De La Soul & Jungle Brothers,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.