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 Micronesia and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Tehran 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 mellotron 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 Suburban Knight to the disco kids.
I played it at Trash.
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 Theoretical Girls. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Soulsonic Force 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
James White and The Blacks,
Pierre Henry,
Japan,
Justin Hinds & The Dominoes,
Essential Logic,
Delta 5,
The Pretty Things,
Echo & the Bunnymen,
Davy DMX,
Hashim,
Piero Umiliani,
Rosa Yemen,
The Evens,
Dorothy Ashby,
The Mojo Men,
The Kinks,
Pharaoh Sanders and the Fire Engines,
The Cramps,
Intrusion,
Vaughan Mason & Crew,
Mars,
Scrapy,
Hardrive,
Bobbi Humphrey,
Brick,
The Real Kids,
The Cure,
The American Breed,
Bronski Beat,
Wolf Eyes,
Godley & Creme,
Arthur Verocai,
Cameo,
Mission of Burma,
Neil Young,
Goldenarms,
Niagra,
Massinfluence,
Basic Channel,
the Human League,
Inner City,
Rekid,
Rites of Spring,
Bobby Sherman,
Skarface,
Peter and Kerry,
Joe Smooth,
Lafayette Afro Rock Band,
The United States of America,
Roxy Music,
Franke,
Agent Orange,
Trumans Water,
Ultravox,
OOIOO,
John Lydon,
The Wake,
Ronan,
The Motions,
Juan Atkins,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.