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 Bremen.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Salvador 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 marimba 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 Amon Düül II to the disco kids.
I played it at the Astoria.
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 The Martian. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Roger Hodgson,
Quando Quango,
The Mojo Men,
The Gories,
The Slackers,
The Black Dice,
Gregory Isaacs,
Terry Callier,
Sixth Finger,
Brass Construction,
Babytalk,
Yellowson,
Ten City,
Shoche,
June Days,
Joensuu 1685,
The Gap Band,
Howard Jones,
Funky Four + One,
Animal Collective,
PIL,
The Real Kids,
The Pop Group,
Junior Murvin,
Bobbi Humphrey,
The Velvet Underground,
Art Ensemble Of Chicago,
Magma,
The Index,
Echospace,
The Dead C,
Cabaret Voltaire,
Barbara Tucker,
The Saints,
Tres Demented,
Ultramagnetic MC's,
Prince Buster,
Nirvana,
Mantronix,
Neu!,
Section 25,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mad Mike,
The Names,
Deadbeat,
Sam Rivers,
Lightning Bolt,
Soft Cell,
The Litter,
Notorious Big And Bone Thugs,
Sticky Fingaz feat. Raekwon,
The Zeros,
CMW,
Dual Sessions,
Eli Mardock,
The Fall,
The Red Krayola,
Red Lorry Yellow Lorry,
Rotary Connection,
The Electric Prunes,
UT, UT, UT, UT.
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.