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 Sweden and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Lakeside to the funk kids.
I played it at the Hacienda.
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 Dorothy Ashby. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Pantaleimon 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
DJ Sneak,
Sonny Sharrock,
Aswad,
Joey Negro,
Eyeless In Gaza,
The Blackbyrds,
Ponytail,
Erykah Badu,
Procol Harum,
Bobby Hutcherson,
Surgeon,
Black Sheep,
Jesper Dahlbäck,
Ronnie Foster,
Essential Logic,
The Alarm Clocks,
Brand Nubian,
Sunsets and Hearts,
Supertramp,
Main Source,
Wally Richardson,
Agitation Free,
Aloha Tigers,
Public Enemy,
Susan Cadogan,
Frankie Knuckles,
Bill Near,
Popol Vuh,
The Searchers,
Man Parrish,
Minor Threat,
Eve St. Jones,
The Five Americans,
The Stooges,
Ajijia Myrayebe,
Swell Maps,
CMW,
Fort Wilson Riot,
Pulsallama,
Oppenheimer Analysis,
Dark Day,
Deutsch Amerikanische Freundschaft,
Moby Grape,
Severed Heads,
Bluetip,
Lindisfarne,
Tears for Fears,
Nik Kershaw,
Cal Tjader,
Motorama,
John Holt,
Q and Not U,
FM Einheit,
Siouxsie and the Banshees,
Scrapy,
Quantec,
Arab on Radar,
Eric B and Rakim,
Marvin Gaye,
The Grass Roots,
The Music Machine,
Barrington Levy,
Stiv Bators,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.