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 Seychelles 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 1975.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Cairo 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 Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Ituana to the jazz 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 Brass Construction. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Standells 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 Skatalites,
Girls At Our Best!,
Neu!,
Wally Richardson,
Crime,
Livin' Joy,
The Shadows of Knight,
Mr. Review,
Motorama,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Darondo,
Ronnie Foster,
The Grass Roots,
Jerry's Kids,
Desert Stars,
Prince Buster,
Unwound,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
Lou Christie,
the Fania All-Stars,
Oppenheimer Analysis,
Dark Day,
Maleditus Sound,
Panda Bear,
Juan Atkins,
Frankie Knuckles,
Von Mondo,
Michelle Simonal,
Stockholm Monsters,
Eric Copeland,
Nick Fraelich,
The Divine Comedy,
Little Man,
The Sisters of Mercy,
Massinfluence,
Man Eating Sloth,
Shuggie Otis,
Banda Bassotti,
Underground Resistance,
Silicon Teens,
Los Fastidios,
It's A Beautiful Day,
The Durutti Column,
Rotary Connection,
Mad Mike,
The Last Poets,
Kings Of Tomorrow,
Brick,
kango's stein massive,
Soul II Soul,
Eric B and Rakim,
John Coltrane,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Dave Clark Five,
Bronski Beat,
Joe Finger,
Fear,
Bad Manners,
Wolf Eyes,
Drexciya,
Gerry Rafferty,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.