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 Lesotho and from Delhi.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Shanghai 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 Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Sad Lovers and Giants to the grime 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 Chris & Cosey. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
A Certain Ratio,
Strawberry Alarm Clock,
Blancmange,
Dark Day,
The Count Five,
Ultravox,
Clear Light,
The Zeros,
Groovy Waters,
These Immortal Souls,
Amon Düül II,
Rhythim Is Rhythim,
Rekid,
Guru Guru,
Traffic Nightmare,
10cc,
Fela Kuti,
Babytalk,
Charles Mingus,
Glenn Branca,
Roy Ayers Ubiquity,
Masters at Work,
Mission of Burma,
Unwound,
Organ,
The Kinks,
Gabor Szabo,
Pylon,
the Germs,
CMW,
The Smiths,
Yaz,
EPMD,
Kool G Rap & DJ Polo,
Derrick May,
Barrington Levy,
Jacques Brel,
Brothers Johnson,
Rod Modell,
Wire,
T.S.O.L.,
8 Eyed Spy,
Dead Boys,
Al Stewart,
John Holt,
Röyhkä ja Rättö ja Lehtisalo,
The Victims,
the Human League,
Country Teasers,
Circle Jerks,
Susan Cadogan,
The New Christs,
Subhumans,
The Gories,
The Electric Prunes,
The Evens,
Aural Exciters,
the Bar-Kays,
Excepter,
The West Coast Pop Art Experimental Band,
Be Bop Deluxe,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.