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 Kyrgyzstan and from Mumbai.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Letta Mbulu to the electroclash kids.
I played it at Cafe Wha.
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 Divine Comedy. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every John Cale 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 '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Amon Düül II,
Connie Case,
Au Pairs,
Oppenheimer Analysis,
Blake Baxter,
Camberwell Now,
Mark Hollis,
Derrick May,
Roger Hodgson,
Howard Jones,
Johnny Osbourne,
Ken Boothe,
The Tremeloes,
Unwound,
The Litter,
Patti Smith,
Angels of Light & Akron/Family,
Faust,
Graham Central Station,
the Germs,
Dual Sessions,
Con Funk Shun,
Nils Olav,
Rotary Connection,
The Smoke,
The Walker Brothers,
Stiv Bators,
Monolake,
Deutsch Amerikanische Freundschaft,
Joyce Sims,
10cc,
The Doors,
Black Sheep,
Kas Product,
Smog,
Bronski Beat,
Sun Ra Arkestra,
Kaleidoscope,
Lou Reed & John Cale,
Crispian St. Peters,
Liliput,
Deepchord,
Cybotron,
Guru Guru,
Tres Demented,
Pet Shop Boys,
The Dave Clark Five,
John Coltrane,
Silicon Teens,
The Birthday Party,
John Lydon,
The Black Dice,
Jerry's Kids,
The Five Americans,
Godley & Creme,
The Standells,
Bill Near,
Swell Maps,
Fat Boys,
Sugar Minott,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.