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 Jamaica and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Paris 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 guitar 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 Von Mondo to the dance kids.
I played it at the Spitz.
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 Althea and Donna. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Mantronix,
The Five Americans,
Visage,
E-Dancer,
Flash Fearless,
Pharaoh Sanders and the Fire Engines,
Ronan,
Judy Mowatt,
Faraquet,
The Mojo Men,
Lightning Bolt,
The Music Machine,
Marc Romboy vs. Booka Shade,
The Motions,
Roxy Music,
Brick,
Pulsallama,
Man Parrish,
Audionom,
The Index,
Grey Daturas,
The Last Poets,
Gong,
Scratch Acid,
Trumans Water,
Dual Sessions,
Charles Mingus,
K-Klass,
Gichy Dan,
Shoche,
Derrick May,
Leonard Cohen,
Soul Sonic Force,
Matthew Halsall,
Amazonics,
June Days,
Urselle,
Piero Umiliani,
Ultra Naté,
Barry Ungar,
Motorama,
Davy DMX,
The Fortunes,
The Cosmic Jokers,
Sex Pistols,
Camouflage,
Blossom Toes,
Rites of Spring,
Fear,
Eric Copeland,
DNA,
The Count Five,
The Peanut Butter Conspiracy,
Graham Central Station,
Gian Franco Pienzio,
the Germs,
The Doors,
Bauhaus,
Spandau Ballet,
Minnie Riperton,
Ice-T,
Janne Schatter,
Tears for Fears,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.