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 Brazil and from Edmonton.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Madrid.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar 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 Shoche to the electroclash kids.
I played it at the Spitz.
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 Crispy Ambulance. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
The Motions,
Crime,
Lee Hazlewood,
Tommy Roe,
Grandmaster Flash and the Furious Five,
Pulsallama,
Marmalade,
The United States of America,
The Chocolate Watch Band,
Soft Machine,
Ohio Players,
Theoretical Girls,
The Sound,
The Doors,
Terrestrial Tones,
The Techniques,
MC5,
Cymande,
The Martian,
Marine Girls,
Avey Tare & Kría Brekkan,
Gastr Del Sol,
Curtis Mayfield,
Jerry's Kids,
Gong,
Jacques Brel,
Minny Pops,
PIL,
U.S. Maple,
Lalann,
Pet Shop Boys,
Subhumans,
Nation of Ulysses,
Bobby Byrd,
Drexciya,
Avey Tare,
Crash Course in Science,
Country Teasers,
Angels of Light & Akron/Family,
Peter & Gordon,
Lakeside,
New Age Steppers,
ABC,
Deutsch Amerikanische Freundschaft,
Icehouse,
Tom Boy,
Circle Jerks,
Wings,
Howard Jones,
David McCallum,
Stiv Bators,
Bobby Womack,
Grauzone,
Nick Fraelich,
Brothers Johnson,
Terry Callier,
Steve Hackett,
Gabor Szabo,
Malaria!,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.