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 Kazakhstan 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 1966 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school London 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 sitar 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 Spandau Ballet to the rock kids.
I played it at the Roxy.
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 Porter Ricks. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Arcadia 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Con Funk Shun,
Country Teasers,
Little Man,
Ajijia Myrayebe,
Pagans,
Ossler,
Beasts of Bourbon,
Jeru the Damaja,
The Toasters,
Young Marble Giants,
DJ Style,
The United States of America,
Sparks,
Johnny Clarke,
Idris Muhammad,
Eddi Front,
Big Daddy Kane,
Alison Limerick,
Don Cherry,
Deadbeat,
The Names,
The Dead C,
The Human League,
Cecil Taylor,
Monks,
The Shadows of Knight,
Jerry's Kids,
The Smiths,
Gerry Rafferty,
Neil Young,
Parry Music,
Tim Buckley,
Faust,
World's Most,
Niagra,
Negative Approach,
Manfred Mann's Earth Band,
Gil Scott-Heron & Brian Jackson,
B.T. Express,
June of 44,
The Jesus and Mary Chain,
Peter Gordon & Love of Life Orchestra,
The Gun Club,
The Happenings,
K-Klass,
Derrick Morgan,
Terrestrial Tones,
Monolake,
Eli Mardock,
Delon & Dalcan,
Oppenheimer Analysis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Subhumans,
New Order,
AZ,
Bobby Womack,
Gastr Del Sol,
the Swans,
Joyce Sims,
Accadde A,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.