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 Japan and from Milan.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Hong Kong 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 Bronski Beat practice in a loft in Brixton.
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 Roxy Music to the disco 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 Television. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every The Tremeloes 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
EPMD,
Lebanon Hanover,
The Birthday Party,
U.S. Maple,
Max Romeo,
Chris & Cosey,
Dave Gahan,
Bad Manners,
Oppenheimer Analysis,
Quadrant,
Hasil Adkins,
Man Eating Sloth,
Bob Dylan,
The United States of America,
Stereo Dub,
Throbbing Gristle,
David McCallum,
Echospace,
Ultravox,
Fear,
Joensuu 1685,
Nico,
Tim Buckley,
Crispian St. Peters,
Rites of Spring,
Saccharine Trust,
Young Marble Giants,
John Foxx,
The Slits,
Ralphi Rosario,
Justin Hinds & The Dominoes,
The Busters,
John Holt,
Monolake,
The Skatalites,
Soft Cell,
The Monochrome Set,
Funky Four + One,
Letta Mbulu,
Bobby Hutcherson,
Aural Exciters,
John Coltrane,
Pole,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Prince Buster,
Kool Moe Dee,
Con Funk Shun,
Interpol,
Nick Fraelich,
Marshall Jefferson,
The Flesh Eaters,
Ken Boothe,
Susan Cadogan,
The Doors,
Blossom Toes,
Sonny Sharrock,
Los Fastidios,
Lucky Dragons,
Urselle, Urselle, Urselle, Urselle.
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.