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 St Kitts & Nevis and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Salvador 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 organ sounds with much patience.
I was there when Donald Fagen 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 Fire Engines to the rock 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 Deakin. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Smiths 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Grandmaster Flash and the Furious Five,
Interpol,
FM Einheit,
Frankie Knuckles,
Cluster,
Wighnomy Brothers & Robag Wruhme,
Sly & The Family Stone,
Gil Scott Heron,
Faraquet,
Terrestrial Tones,
Funkadelic,
Janne Schatter,
The Selecter,
Los Fastidios,
Thee Headcoats,
The Detroit Cobras,
Roxy Music,
Shoche,
The Durutti Column,
Archie Shepp,
Peter & Gordon,
Pere Ubu,
Art Ensemble Of Chicago,
Pierre Henry,
Blancmange,
The Smoke,
Arthur Verocai,
Lightning Bolt,
Eddi Front,
Kool Moe Dee,
Idris Muhammad,
E-Dancer,
Tres Demented,
The Black Dice,
MDC,
The Flesh Eaters,
Camberwell Now,
The Tremeloes,
Barry Ungar,
Maurizio,
Chris & Cosey,
The Invisible,
Lucky Dragons,
Al Stewart,
Cymande,
Michelle Simonal,
The Sound,
Echo & the Bunnymen,
Pole,
Kaleidoscope,
H. Thieme,
Mary Jane Girls,
Albert Ayler,
Yazoo,
Notorious Big And Bone Thugs,
A Certain Ratio,
Nick Fraelich,
Wolf Eyes,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.