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 Sierra Leone and from Mumbai.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare 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 Gang Starr to the grime kids.
I played it at the Crocodile.
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 Boz Scaggs. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
X-102,
Selector Dub Narcotic,
Barry Ungar,
Nik Kershaw,
The Remains,
Tom Boy,
Bootsy Collins,
Marc Almond,
Dennis Brown,
Tears for Fears,
The Star Department,
Young Marble Giants,
Make Up,
The Detroit Cobras,
The Fire Engines,
Warsaw,
Royal Trux,
Deadbeat,
Radio Birdman,
Loose Ends,
Ash Ra Tempel,
Matthew Halsall,
Juan Atkins,
The Mojo Men,
JFA,
Lower 48,
Joey Negro,
R.M.O.,
Country Teasers,
Pet Shop Boys,
Barrington Levy,
Los Fastidios,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Colin Newman,
Outsiders,
Sad Lovers and Giants,
Art Ensemble Of Chicago,
Cabaret Voltaire,
The Offenders,
Kayak,
The Flesh Eaters,
Rhythim Is Rhythim,
Dorothy Ashby,
New Order,
The Gories,
Bobby Byrd,
Index,
The Gap Band,
The Zeros,
Tommy Roe,
Darondo,
The Mummies,
Bauhaus,
Mandrill,
Ponytail,
Intrusion,
Mad Mike,
Whodini,
the Fania All-Stars,
Thinking Fellers Union Local 282,
The Victims,
Cybotron, Cybotron, Cybotron, Cybotron.
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.