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 Algeria and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Shanghai 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 rhodes 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 David Axelrod to the funk 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 10cc. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Laurel Aitken 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Pantytec,
Gian Franco Pienzio,
The Cosmic Jokers,
Ronnie Foster,
Roger Hodgson,
Rhythim Is Rhythim,
The Raincoats,
Drive Like Jehu,
The Seeds,
Ajijia Myrayebe,
Kool Moe Dee,
Bill Wells,
World's Most,
The Five Americans,
Reuben Wilson,
Radiopuhelimet,
Black Flag,
The Grass Roots,
Nation of Ulysses,
The Wake,
Quadrant,
Goldenarms,
Lee Hazlewood,
Marvin Gaye,
Avey Tare,
Sly & The Family Stone,
Graham Central Station,
MDC,
Big Daddy Kane,
ABBA,
Bootsy Collins,
Moby Grape,
The Index,
Tres Demented,
Thinking Fellers Union Local 282,
The Zeros,
The Electric Prunes,
Organ,
Al Stewart,
Thompson Twins,
the Germs,
Toni Rubio,
Darondo,
Minor Threat,
Ohio Players,
Scion,
The Fugs,
Wally Richardson,
The Monks,
Public Image Ltd.,
Mantronix,
The Leaves,
Symarip,
the Bar-Kays,
Second Layer,
Pierre Henry,
Country Teasers,
The Sound,
Yusef Lateef,
Eli Mardock,
Subhumans, Subhumans, Subhumans, Subhumans.
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.