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 Senegal and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Robert Görl to the techno kids.
I played it at the 40 Watt.
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 Thompson Twins. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Harpers Bizarre 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Wally Richardson,
DJ Style,
The Seeds,
The Neon Judgement,
Kauko Röyhkä ja Narttu,
Todd Rundgren,
Glenn Branca,
Rapeman,
Public Image Ltd.,
Roy Ayers Ubiquity,
The Mighty Diamonds,
World's Most,
Siglo XX,
Electric Light Orchestra,
K-Klass,
Pere Ubu,
Echospace,
the Normal,
The Selecter,
Sunsets and Hearts,
Lonnie Liston Smith,
Niagra,
Lalo Schifrin,
Mr. Review,
Gerry Rafferty,
Rahsaan Roland Kirk,
Joensuu 1685,
Dual Sessions,
The United States of America,
Technova,
Warsaw,
Jandek,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sonny Sharrock,
Crooked Eye,
Beasts of Bourbon,
London Community Gospel Choir,
Slick Rick,
Wighnomy Brothers & Robag Wruhme,
Faraquet,
Country Teasers,
Bobby Hutcherson,
The Fire Engines,
The Dead C,
The Remains,
Lightning Bolt,
Barclay James Harvest,
Jeff Mills,
B.T. Express,
Arthur Verocai,
Boredoms,
Gabor Szabo,
Vaughan Mason & Crew,
The Moleskins,
Youth Brigade,
Grandmaster Flash,
Avey Tare's Slasher Flicks,
Yellowson, Yellowson, Yellowson, Yellowson.
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.