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 Colombia and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Delhi 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Stetsasonic to the funk kids.
I played it at the Troubador.
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 Anthony Braxton. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Charles Mingus,
Angels of Light & Akron/Family,
Crispian St. Peters,
Pole,
Banda Bassotti,
Joyce Sims,
The Moody Blues,
Jerry Gold Smith,
Soft Machine,
Girls At Our Best!,
E-Dancer,
Pantaleimon,
Agent Orange,
Rowland S Howard / Lydia Lunch,
Yusef Lateef,
Josef K,
Ice-T,
Model 500,
Slick Rick,
Radiohead,
Cal Tjader,
Dr. Dre and Snoop Doggy Dog,
The Cosmic Jokers,
World's Most,
The Mighty Diamonds,
Marc Almond,
Sonic Youth,
Unrelated Segments,
Qualms,
Jimmy McGriff,
Lou Reed & Metallica,
Suburban Knight,
Siouxsie and the Banshees,
The Grass Roots,
EPMD,
Ronan,
Lalann,
Visage,
Juan Atkins,
Teenage Jesus and the Jerks,
Thompson Twins,
Cheater Slicks,
Kool G Rap & DJ Polo,
Whodini,
The Searchers,
The Skatalites,
A Certain Ratio,
Massinfluence,
The Pop Group,
Lower 48,
The West Coast Pop Art Experimental Band,
Delon & Dalcan,
The Cramps,
Chris & Cosey,
Bronski Beat,
Ultravox,
The Star Department,
The Beau Brummels,
Ultramagnetic MC's,
This Heat, This Heat, This Heat, This Heat.
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.