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 Tuvalu and from Shanghai.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Delhi and Calgary.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Unrelated Segments to the electroclash 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 Ronnie Foster. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Marshall Jefferson 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 '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Wolf Eyes,
Subhumans,
Babytalk,
The Gun Club,
Dead Boys,
Thee Headcoats,
Magazine,
Crime,
48th St. Collective,
Mary Jane Girls,
Lower 48,
Fugazi,
Cal Tjader,
Quando Quango,
Judy Mowatt,
Jeff Lynne,
Lightning Bolt,
The Cowsills,
Von Mondo,
Yazoo,
Gang Starr,
The Victims,
Mantronix,
Angry Samoans,
Dr. Dre and Snoop Doggy Dog,
Eric Copeland,
the Human League,
10cc,
Mars,
The Raincoats,
Amon Düül II,
Agitation Free,
Grandmaster Flash,
Guru Guru,
Jesper Dahlbäck,
Ronan,
Masters at Work,
Ken Boothe,
The Seeds,
Spandau Ballet,
Average White Band,
UT,
Henry Cow,
Symarip,
Television,
Soulsonic Force,
Brand Nubian,
Sun City Girls,
Ultra Naté,
B.T. Express,
The Tremeloes,
Marvin Gaye,
Pere Ubu,
Fat Boys,
Fluxion,
The Barracudas,
Red Lorry Yellow Lorry,
Patti Smith,
U.S. Maple,
The Star Department,
The Mojo Men,
Easy Going,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.