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 Pakistan and from Winnipeg.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Stockholm 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 Chic practice in a loft in New York.
I was working on the synthesizer 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 The Standells to the electroclash 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 John Holt. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Traffic Nightmare 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thinking Fellers Union Local 282 record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
the Association,
Howard Jones,
The Raincoats,
Eyeless In Gaza,
Cabaret Voltaire,
Heaven 17,
Eric Copeland,
The United States of America,
The New Christs,
The Royal Family And The Poor,
Suburban Knight,
The Busters,
John Coltrane,
Cameo,
The Sonics,
The Move,
The Real Kids,
Larry & the Blue Notes,
Can,
F. McDonald,
Camberwell Now,
Gichy Dan,
Dual Sessions,
Pharoah Sanders,
Bill Near,
Alphaville,
H. Thieme,
Blancmange,
Average White Band,
Donny Hathaway,
The Neon Judgement,
LL Cool J,
The Searchers,
Visage,
Bob Dylan,
Wolf Eyes,
Eve St. Jones,
The Associates,
Dead Boys,
Warren Ellis,
Siouxsie and the Banshees,
Harpers Bizarre,
Lower 48,
The Fuzztones,
Junior Murvin,
10cc,
Parry Music,
Black Pus,
The Moleskins,
Second Layer,
Notorious Big And Bone Thugs,
Morten Harket,
Juan Atkins,
Gil Scott-Heron and Jamie xx,
Thompson Twins,
Charles Mingus,
D'Angelo,
Avey Tare,
The Remains,
The J.B.'s,
Sandy B,
Glenn Branca,
the Soft Cell,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.