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 St Kitts & Nevis and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1975.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Cairo 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 güiro 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 Technova to the jazz kids.
I played it at the Roxy.
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 DNA. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Tropical Tobacco,
Sight & Sound,
Rapeman,
Fifty Foot Hose,
Nas,
The Toasters,
In Retrospect,
Marshall Jefferson,
D'Angelo,
Vainqueur,
Bluetip,
B.T. Express,
Minutemen,
Fat Boys,
Gerry Rafferty,
The Cowsills,
Duran Duran,
The Grass Roots,
Man Parrish,
Accadde A,
Robert Hood,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Khruangbin,
The Martian,
Eden Ahbez,
Curtis Mayfield,
Unwound,
Gary Puckett & The Union Gap,
Peter and Kerry,
Bang on a Can All-Stars,
The Techniques,
Lakeside,
Beasts of Bourbon,
Tom Boy,
Rakim,
Eyeless In Gaza,
Eurythmics,
Morten Harket,
Mad Mike,
Gang Green,
Camberwell Now,
The Invisible,
Sonny Sharrock,
Jawbox,
the Soft Cell,
The Mummies,
Cheater Slicks,
Monolake,
Vaughan Mason & Crew,
Warren Ellis,
Fatback Band,
Main Source,
The Doors,
Ice-T,
the Bar-Kays,
Jeff Mills,
Fad Gadget,
Rotary Connection,
The Jesus and Mary Chain,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.