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 Netherlands and from Mumbai.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Halifax 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Mary Jane Girls to the grime kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Glambeats Corp.,
Marine Girls,
John Lydon,
Grandmaster Flash,
Kevin Saunderson,
Index,
Vaughan Mason & Crew,
Michelle Simonal,
Althea and Donna,
Sällskapet,
The Human League,
Rowland S Howard / Lydia Lunch,
The Evens,
E-Dancer,
Warren Ellis,
Royal Trux,
Vladislav Delay,
The Techniques,
Matthew Halsall,
Stereo Dub,
Soulsonic Force,
Metal Thangz,
Darondo,
Fort Wilson Riot,
The Sound,
Sound Behaviour,
La Düsseldorf,
The Grass Roots,
Barbara Tucker,
Neil Young,
Public Enemy,
Bluetip,
The Beau Brummels,
Fatback Band,
The Count Five,
Todd Terry,
Fugazi,
Aaron Thompson,
The Sisters of Mercy,
James Chance & The Contortions,
World's Most,
Cecil Taylor,
F. McDonald,
The United States of America,
The Offenders,
The Gories,
Excepter,
10cc,
Jesper Dahlback,
CMW,
Qualms,
Jesper Dahlbäck,
Idris Muhammad,
Terror Squad Feat. Camron,
Funky Four + One,
Don Cherry,
Alton Ellis,
Bang On A Can,
James White and The Blacks,
Skaos,
The Happenings,
Piero Umiliani,
The Slackers, The Slackers, The Slackers, The Slackers.
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.