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 Niger and from Cairo.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet 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 Khruangbin to the dance 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 Boredoms. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Ultimate Spinach,
New Order,
Subhumans,
The Fire Engines,
The American Breed,
Silicon Teens,
Blake Baxter,
Peter and Kerry,
Jerry's Kids,
Rufus Thomas,
Rahsaan Roland Kirk,
Robert Hood,
The Moody Blues,
Gil Scott Heron,
The Cure,
the Germs,
Amon Düül,
Arab on Radar,
Morten Harket,
A Certain Ratio,
Black Moon,
Larry & the Blue Notes,
June Days,
The Alarm Clocks,
The Human League,
Visionaries,LMNO, T- Love & Iriscience,
Jeru the Damaja,
Derrick May,
UT,
The Flesh Eaters,
Pharoah Sanders,
Derrick Morgan,
Gang Gang Dance,
Agent Orange,
The Peanut Butter Conspiracy,
Wally Richardson,
D'Angelo,
Andrew Ashong & Theo Parrish,
Icehouse,
The Birthday Party,
New York Dolls,
Magazine,
Bill Wells,
Drive Like Jehu,
The Raincoats,
Marcia Griffiths,
Lucky Dragons,
The Fall,
Chris & Cosey,
Bang On A Can,
Bad Manners,
Loose Ends,
Jesper Dahlbäck,
Massinfluence,
Heaven 17,
Inner City,
the Slits,
Spandau Ballet,
Young Marble Giants,
Wire,
The Pop Group,
Juan Atkins,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.