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 Switzerland and from Philadelphia.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 Juan Atkins to the rap kids.
I played it at Trash.
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 The Martian. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Liliput,
Gang of Four,
Wolf Eyes,
One Last Wish,
the Bar-Kays,
Sugar Minott,
Captain Beefheart & His Magic Band,
Connie Case,
Minny Pops,
Oblivians,
The Black Dice,
Roxette,
Smog,
Joensuu 1685,
Scientists,
Chris Corsano,
Gabor Szabo,
Johnny Osbourne,
Country Joe & The Fish,
Richard Hell and the Voidoids,
Prince Buster,
Swell Maps,
Depeche Mode,
Sun Ra Arkestra,
David Axelrod,
Heavy D & The Boyz,
The Alarm Clocks,
Crime,
Kurtis Blow,
Jimmy McGriff,
Lonnie Liston Smith,
The Gun Club,
Masters at Work,
Minnie Riperton,
the Fania All-Stars,
Peter and Kerry,
New Order,
Dead Boys,
Monks,
The Raincoats,
Circle Jerks,
The Count Five,
The Dead C,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
Babytalk,
Beasts of Bourbon,
Oppenheimer Analysis,
the Soft Cell,
Lyres,
Red Lorry Yellow Lorry,
Terrestrial Tones,
Hot Snakes,
Bush Tetras,
the Slits,
The Grass Roots,
R.M.O.,
The Monochrome Set,
Kool Moe Dee,
The Wake,
The Victims,
The Golliwogs,
Mark Hollis,
Sällskapet,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.