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 Panama and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1971.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Madrid 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 snare sounds with much patience.
I was there when Lou Reed 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 Letta Mbulu to the funk kids.
I played it at CBGB's.
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 Simply Red. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal disco 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Gil Scott-Heron & Brian Jackson,
Mars,
Glenn Branca,
Sarah Menescal,
Supertramp,
Thinking Fellers Union Local 282,
Jeff Mills,
Talk Talk,
Jesper Dahlbäck,
Minny Pops,
The Standells,
Cluster,
Franke,
Black Flag,
Roxy Music,
Louis and Bebe Barron,
Soft Machine,
10cc,
Robert Wyatt,
Quadrant,
A Certain Ratio,
Severed Heads,
The Slackers,
Robert Görl,
Bootsy Collins,
Audionom,
Guru Guru,
Sun City Girls,
Isaac Hayes,
Marmalade,
Au Pairs,
Ice-T,
Rowland S Howard / Lydia Lunch,
PIL,
Kevin Saunderson,
Duran Duran,
Gong,
Khruangbin,
Soul II Soul,
Sun Ra,
Groovy Waters,
Jawbox,
Rhythm & Sound,
Fort Wilson Riot,
Deepchord,
The Modern Lovers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
London Community Gospel Choir,
Camberwell Now,
Notorious BIG live in Amsterdam,
The Doors,
Young Marble Giants,
Flipper,
Bill Near,
Andrew Ashong & Theo Parrish,
Eurythmics,
Bauhaus,
Clear Light,
Yusef Lateef,
the Slits,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.