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 Korea South and from Accra.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Stereo Dub to the funk 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 Nils Olav. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal rap 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Lou Christie,
The Red Krayola,
The Shadows of Knight,
The Mighty Diamonds,
Drive Like Jehu,
Robert Görl,
Avey Tare & Kría Brekkan,
Blossom Toes,
Andrew Ashong & Theo Parrish,
Sexual Harrassment,
Swell Maps,
Qualms,
Althea and Donna,
the Slits,
Mantronix,
Shoche,
Jandek,
The Buckinghams,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nico,
Johnny Clarke,
Joy Division,
Alison Limerick,
Flash Fearless,
Danielle Patucci,
Rahsaan Roland Kirk,
Massinfluence,
Rhythm & Sound,
David Axelrod,
The Star Department,
The Knickerbockers,
The Moleskins,
Nas,
The Young Rascals,
Todd Rundgren,
Man Parrish,
MDC,
Little Man,
Peter & Gordon,
The Pretty Things,
Pulsallama,
Matthew Halsall,
the Germs,
Roy Ayers,
The Cure,
Archie Shepp,
Lizzy Mercier Descloux,
Ultramagnetic MC's,
Reagan Youth,
Glambeats Corp.,
Unrelated Segments,
Masters at Work,
Negative Approach,
Bill Wells,
Deadbeat,
The Fuzztones,
The Slits,
The Real Kids,
Pantytec,
Al Stewart,
Visage,
Magma,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.