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 Switzerland and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Delhi 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 808 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 The Beau Brummels to the electroclash 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 K-Klass. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Sister Nancy 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 '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Liliput,
Henry Cow,
Mark Hollis,
Jesper Dahlbäck,
Bush Tetras,
Kevin Saunderson,
Technova,
Pussy Galore,
Moby Grape,
Kayak,
Tears for Fears,
Arab on Radar,
Con Funk Shun,
Pharoah Sanders,
Yaz,
The Angels of Light,
The Motions,
Thompson Twins,
A Flock of Seagulls,
Man Parrish,
Ten City,
The Music Machine,
Jimmy McGriff,
Peter Gordon & Love of Life Orchestra,
Sixth Finger,
Skaos,
Kings Of Tomorrow,
Delon & Dalcan,
Nils Olav,
Gang Green,
Terry Callier,
Reagan Youth,
FM Einheit,
Yazoo,
Half Japanese,
Dark Day,
Sonny Sharrock,
Newcleus,
Matthew Bourne,
The Real Kids,
The Men They Couldn't Hang,
The Raincoats,
Lakeside,
Mission of Burma,
The Mummies,
The Moleskins,
Roger Hodgson,
Pylon,
Duran Duran,
Eddi Front,
Rod Modell,
Sun City Girls,
Country Teasers,
Jerry Gold Smith,
Ultravox,
The West Coast Pop Art Experimental Band,
Pere Ubu,
Scientists,
Girls At Our Best!,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.