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 Cambodia and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Accra.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Brass Construction to the grime 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 Funky Four + One. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Fugs 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Wire,
Intrusion,
The Neon Judgement,
the Bar-Kays,
Excepter,
Television,
Matthew Halsall,
Nirvana,
The Last Poets,
Soulsonic Force,
Gang Gang Dance,
Kaleidoscope,
Country Joe & The Fish,
John Foxx,
Peter & Gordon,
Erykah Badu,
Amon Düül II,
the Swans,
The Leaves,
Boz Scaggs,
Jeff Mills,
Oneida,
Pole,
The Standells,
The Doobie Brothers,
Bob Dylan,
CMW,
Depeche Mode,
The Black Dice,
Skaos,
Eurythmics,
Hasil Adkins,
Surgeon,
Qualms,
Pantytec,
The Toasters,
the Slits,
Make Up,
Rod Modell,
Blossom Toes,
Magazine,
The Selecter,
Heavy D & The Boyz,
Judy Mowatt,
Sunsets and Hearts,
a-ha,
Ossler,
Marine Girls,
Wally Richardson,
Byron Stingily,
Crispian St. Peters,
James Chance & The Contortions,
Patti Smith,
Prince Buster,
The Moody Blues,
Tubeway Army,
Bill Wells,
Stiv Bators,
Bootsy Collins,
8 Eyed Spy,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.