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 South Sudan and from Bologna.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Manila 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Connie Case to the punk 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 Masters at Work. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal techno 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
the Soft Cell,
Hasil Adkins,
Kerrie Biddell,
Crispian St. Peters,
The Martian,
Neu!,
The Men They Couldn't Hang,
Ultimate Spinach,
Carl Craig,
The Fugs,
Sarah Menescal,
The Buckinghams,
CMW,
Red Lorry Yellow Lorry,
Gang Starr,
Masters at Work,
Laurel Aitken,
DJ Sneak,
The Standells,
Parry Music,
K-Klass,
Cheater Slicks,
Deepchord,
Alton Ellis,
Tom Boy,
Ralphi Rosario,
Blake Baxter,
Bootsy's Rubber Band,
KRS-One,
Matthew Halsall,
Sparks,
Pylon,
Harry Pussy,
Fluxion,
Peter & Gordon,
Byron Stingily,
the Swans,
Cymande,
Juan Atkins,
Godley & Creme,
Suburban Knight,
Oblivians,
Pantaleimon,
Fela Kuti,
Scion,
Thinking Fellers Union Local 282,
Nik Kershaw,
Lou Reed & Metallica,
Hardrive,
Zapp,
The Happenings,
Eyeless In Gaza,
Fort Wilson Riot,
Scott Walker,
The Dirtbombs,
Supertramp,
Vaughan Mason & Crew,
Lungfish,
Grauzone,
The Detroit Cobras,
Pharoah Sanders,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.