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 Malawi and from Lagos.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Woodstock 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 Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Scan 7 to the crunk kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Section 25,
The Chocolate Watch Band,
Mantronix,
Michelle Simonal,
Gil Scott-Heron & Brian Jackson,
Black Moon,
Colin Newman,
Gil Scott Heron,
Eric Copeland,
Wighnomy Brothers & Robag Wruhme,
The Real Kids,
Electric Prunes,
Intrusion,
Harpers Bizarre,
Ornette Coleman,
The Men They Couldn't Hang,
Simply Red,
AZ,
Sixth Finger,
Pet Shop Boys,
Skarface,
Roy Ayers Ubiquity,
Gichy Dan,
Neil Young & Crazy Horse,
Marshall Jefferson,
Infiniti,
Pete Rock & C.L. Smooth,
Talk Talk,
Fat Boys,
The Peanut Butter Conspiracy,
John Foxx,
Crooked Eye,
Nico,
Faraquet,
Junior Murvin,
B.T. Express,
Laurel Aitken,
Wire,
Delta 5,
Toni Rubio,
The Velvet Underground,
Todd Rundgren,
Whodini,
Jesper Dahlback,
The Golliwogs,
Erasure,
Circle Jerks,
Trumans Water,
Pere Ubu,
Brothers Johnson,
Avey Tare,
Moby Grape,
Young Marble Giants,
The Wake,
Andrew Hill,
Todd Terry,
June Days,
Peter & Gordon,
Donald Byrd,
Main Source,
Radiohead, Radiohead, Radiohead, Radiohead.
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.