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 Norway and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Yellowson to the disco kids.
I played it at the Hacienda.
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 X-101. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Rufus Thomas,
Juan Atkins,
A Flock of Seagulls,
Charles Mingus,
Ossler,
Jawbox,
Marcia Griffiths,
Lalann,
Maurizio,
Josef K,
The Mighty Diamonds,
Bootsy Collins,
The Gap Band,
Major Organ And The Adding Machine,
Warsaw,
Oblivians,
Schoolly D,
Crime,
Monolake,
The Victims,
Idris Muhammad,
Slick Rick,
Pharaoh Sanders and the Fire Engines,
James White and The Blacks,
Laurel Aitken,
John Coltrane,
Monks,
Nick Cave & The Bad Seeds,
Banda Bassotti,
The Tremeloes,
Don Cherry,
Moby Grape,
Lower 48,
Clear Light,
Hot Snakes,
Kauko Röyhkä ja Narttu,
Con Funk Shun,
Fort Wilson Riot,
Minor Threat,
Liliput,
Yaz,
Angels of Light & Akron/Family,
Camouflage,
Scion,
Zapp,
The Sound,
Skaos,
Adolescents,
Los Fastidios,
Main Source,
The Gladiators,
Fluxion,
Oneida,
Chris & Cosey,
The Men They Couldn't Hang,
Niagra,
Darondo,
a-ha,
Ash Ra Tempel,
The Electric Prunes,
The Slits,
Pagans, Pagans, Pagans, Pagans.
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.