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 New Zealand and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school New York 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 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 The J.B.'s to the disco 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 Public Enemy. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Rakim,
Crash Course in Science,
Leonard Cohen,
Carl Craig,
John Holt,
Shoche,
Malaria!,
Radiohead,
Rufus Thomas,
Angry Samoans,
Jerry Gold Smith,
Suicide,
Crooked Eye,
Electric Prunes,
the Bar-Kays,
Kurtis Blow,
Marmalade,
Qualms,
Sparks,
Alphaville,
Monolake,
ABBA,
The Names,
Avey Tare's Slasher Flicks,
The United States of America,
The Associates,
The Fall,
The Electric Prunes,
Delon & Dalcan,
Intrusion,
The Men They Couldn't Hang,
Soft Machine,
Arcadia,
Matthew Bourne,
EPMD,
Camouflage,
Arthur Verocai,
The Standells,
Glambeats Corp.,
The Buckinghams,
Alison Limerick,
The Music Machine,
Fort Wilson Riot,
Avey Tare,
the Human League,
Q65,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane,
Gang Starr,
Drexciya,
the Slits,
Half Japanese,
The Count Five,
The Durutti Column,
Blake Baxter,
Delta 5,
Q and Not U,
Freddie Wadling,
Silicon Teens,
Pet Shop Boys,
JFA,
Fluxion,
Section 25, Section 25, Section 25, Section 25.
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.