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 Belgium and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Pylon to the disco kids.
I played it at the 40 Watt.
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 Basic Channel. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Chris & Cosey 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Gil Scott Heron,
Gian Franco Pienzio,
Idris Muhammad,
Carl Craig,
Fluxion,
Nik Kershaw,
Danielle Patucci,
Public Image Ltd.,
B.T. Express,
The Barracudas,
Colin Newman,
Deakin,
Deutsch Amerikanische Freundschaft,
Masters at Work,
Connie Case,
Ituana,
Kool Moe Dee,
DeepChord presents Echospace,
X-101,
the Slits,
Mary Jane Girls,
The Residents,
Can,
Grauzone,
Sly & The Family Stone,
Vaughan Mason & Crew,
Buzzcocks,
Spandau Ballet,
Eden Ahbez,
Franke,
Derrick May,
Robert Hood,
Au Pairs,
Fifty Foot Hose,
Soulsonic Force,
John Holt,
Johnny Osbourne,
The Birthday Party,
Half Japanese,
The Music Machine,
Trumans Water,
Hasil Adkins,
DJ Style,
Loose Ends,
Flamin' Groovies,
Gary Puckett & The Union Gap,
Kauko Röyhkä ja Narttu,
U.S. Maple,
Fear,
Darondo,
The Gun Club,
The Cowsills,
Bluetip,
Fatback Band,
Harpers Bizarre,
Robert Görl,
Y Pants,
Nils Olav,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.