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 Palau and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Gabor Szabo to the funk kids.
I played it at Cafe Wha.
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 Derrick May. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 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 spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Bill Wells,
Tomorrow,
48th St. Collective,
The Fuzztones,
R.M.O.,
Traffic Nightmare,
Isaac Hayes,
Todd Rundgren,
Dark Day,
The Standells,
Mad Mike,
World's Most,
Tommy Roe,
Nas,
Underground Resistance,
Bobby Sherman,
Barclay James Harvest,
The Angels of Light,
Slave,
Schoolly D,
This Heat,
Curtis Mayfield,
Franke,
Mars,
Symarip,
Barry Ungar,
Henry Cow,
Lafayette Afro Rock Band,
Agent Orange,
The J.B.'s,
Agitation Free,
The Dirtbombs,
Skarface,
Saccharine Trust,
Richard Hell and the Voidoids,
John Foxx,
Television,
Oneida,
Selector Dub Narcotic,
Electric Light Orchestra,
Icehouse,
KRS-One,
Gang of Four,
Eli Mardock,
Joe Finger,
Girls At Our Best!,
The Motions,
Nils Olav,
Bad Manners,
Johnny Clarke,
Marcia Griffiths,
Essential Logic,
Davy DMX,
Jacques Brel,
Country Joe & The Fish,
Gerry Rafferty,
DJ Sneak,
Fela Kuti,
Japan,
Magazine,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.