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 Venezuela and from Accra.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Bobby Byrd to the rock 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 Glambeats Corp.. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare 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,
Kurtis Blow,
Rekid,
Terrestrial Tones,
Kaleidoscope,
The Monochrome Set,
Delon & Dalcan,
Roxy Music,
Groovy Waters,
Newcleus,
Tommy Roe,
Toni Rubio,
Inner City,
New Age Steppers,
Fort Wilson Riot,
Mr. Review,
Grandmaster Flash and the Furious Five,
Dawn Penn,
Derrick Morgan,
The Electric Prunes,
The Shadows of Knight,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
D'Angelo,
Josef K,
Scientists,
Brass Construction,
Deepchord,
Peter & Gordon,
Gichy Dan,
Desert Stars,
Mandrill,
Roy Ayers Ubiquity,
John Lydon,
Clear Light,
Visage,
Sly & The Family Stone,
Nirvana,
Yazoo,
Aswad,
Jandek,
Depeche Mode,
Lakeside,
Joe Finger,
MC5,
Vainqueur,
Nico,
Gian Franco Pienzio,
Davy DMX,
Malaria!,
Roy Ayers,
Colin Newman,
the Slits,
Carl Craig,
Drive Like Jehu,
Circle Jerks,
Mars,
Fat Boys,
Section 25,
The Fugs,
Marshall Jefferson,
Susan Cadogan,
Laurel Aitken,
DJ Style,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.