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 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 1966 to 1973.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Oblivians 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 Jeff Mills. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Sex Pistols,
the Slits,
Grandmaster Flash and the Furious Five,
Slick Rick,
T. Rex,
Rahsaan Roland Kirk,
Index,
Major Organ And The Adding Machine,
Amazonics,
Ultra Naté,
DJ Style,
Hasil Adkins,
Isaac Hayes,
Echo & the Bunnymen,
Steve Hackett,
Dorothy Ashby,
Jesper Dahlbäck,
Gang of Four,
The Kinks,
Siglo XX,
Juan Atkins,
Rites of Spring,
Pet Shop Boys,
Robert Görl,
Popol Vuh,
Tres Demented,
Wire,
Davy DMX,
Sexual Harrassment,
Icehouse,
Section 25,
The Electric Prunes,
The Star Department,
Crispy Ambulance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Lydon,
Magazine,
The Pop Group,
Bad Manners,
Minnie Riperton,
June Days,
Moby Grape,
Oneida,
The Doobie Brothers,
Zero Boys,
Erasure,
Dead Boys,
Main Source,
Gregory Isaacs,
Quadrant,
Underground Resistance,
Public Enemy,
Roxette,
Model 500,
Cal Tjader,
Gang Starr,
Siouxsie and the Banshees,
Franke,
The Offenders,
Eyeless In Gaza,
Roy Ayers,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.