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 Malaysia and from Hong Kong.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Manila.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Severed Heads to the electroclash 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 The Black Dice. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Cramps 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 '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 X-102 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?
The Wake,
Johnny Osbourne,
The Angels of Light,
Monolake,
Anthony Braxton,
The Star Department,
The Names,
Lou Reed & John Cale,
The Modern Lovers,
Stockholm Monsters,
Hashim,
Pussy Galore,
The Searchers,
Don Cherry,
The Gun Club,
Agent Orange,
Depeche Mode,
Magma,
Toni Rubio,
The Mojo Men,
Lee Hazlewood,
The Motions,
Derrick Morgan,
cv313,
Josef K,
Lou Reed & Metallica,
Arcadia,
Robert Wyatt,
The Gories,
Art Ensemble Of Chicago,
Robert Hood,
Slave,
The Mummies,
Bobbi Humphrey,
Isaac Hayes,
Bobby Hutcherson,
New Age Steppers,
Wolf Eyes,
Steve Hackett,
Pole,
These Immortal Souls,
Kerrie Biddell,
MDC,
Kevin Saunderson,
Arab on Radar,
Buzzcocks,
Joey Negro,
Sound Behaviour,
Qualms,
Sun Ra Arkestra,
Aural Exciters,
Mars,
Pantaleimon,
Nas,
Ultravox,
Funky Four + One,
The Mighty Diamonds,
The Selecter,
Deadbeat,
Wings,
The Techniques,
David McCallum, David McCallum, David McCallum, David McCallum.
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.