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 Greece and from Stockholm.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 Ajijia Myrayebe to the punk kids.
I played it at the Roxy.
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 Chocolate Watch Band. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal punk 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Sly & The Family Stone,
Matthew Halsall,
Flash Fearless,
The Moody Blues,
John Lydon,
Subhumans,
Tommy Roe,
Adolescents,
Rekid,
Jeru the Damaja,
Fifty Foot Hose,
Thompson Twins,
Tropical Tobacco,
Magazine,
Country Teasers,
Orchestral Manoeuvres in the Dark,
The Music Machine,
the Association,
Max Romeo,
Ponytail,
JFA,
Gabor Szabo,
Eddi Front,
The Litter,
Quando Quango,
Brass Construction,
Faraquet,
Brand Nubian,
Franke,
Black Sheep,
Hasil Adkins,
Avey Tare's Slasher Flicks,
Marvin Gaye,
Bad Manners,
Stiv Bators,
Stockholm Monsters,
Chris & Cosey,
The Royal Family And The Poor,
The Birthday Party,
James White and The Blacks,
Funky Four + One,
Scott Walker,
Ten City,
Model 500,
The Tremeloes,
The Busters,
Eli Mardock,
Oblivians,
Rapeman,
Al Stewart,
Carl Craig,
The Seeds,
Ituana,
The Leaves,
Main Source,
Deutsch Amerikanische Freundschaft,
The Gun Club,
The Selecter,
Alison Limerick,
Mantronix, Mantronix, Mantronix, Mantronix.
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.