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 San Marino and from Bremen.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Glasgow 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 Chic practice in a loft in New York.
I was working on the marimba 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 Livin' Joy to the dance 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 Suburban Knight. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal dance 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 a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
The Busters,
The Remains,
The Offenders,
the Association,
AZ,
The Move,
Judy Mowatt,
The Names,
Dead Boys,
Gang Green,
Ken Boothe,
EPMD,
Yusef Lateef,
Thee Headcoats,
Rotary Connection,
Cybotron,
Siglo XX,
The Detroit Cobras,
Das Ding,
The Fire Engines,
Ralphi Rosario,
Nation of Ulysses,
Derrick Morgan,
Surgeon,
cv313,
Neu!,
Thinking Fellers Union Local 282,
Connie Case,
Public Enemy,
Ultimate Spinach,
Black Pus,
Letta Mbulu,
The Misunderstood,
Anthony Braxton,
Skriet,
Los Fastidios,
Jawbox,
Brick,
Man Eating Sloth,
Johnny Osbourne,
Joey Negro,
Mandrill,
Pierre Henry,
The Victims,
Terrestrial Tones,
Lou Reed & John Cale,
Black Bananas,
Minny Pops,
Pole,
Buzzcocks,
Eric Dolphy,
the Bar-Kays,
Adolescents,
Ice-T,
Cabaret Voltaire,
Crash Course in Science,
Nick Cave & The Bad Seeds,
Bizarre Inc.,
Lyres,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.