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 Benin and from Houston.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Major Organ And The Adding Machine to the punk kids.
I played it at the Troubador.
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 The Detroit Cobras. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Angels of Light & Akron/Family,
Ajijia Myrayebe,
Aaron Thompson,
MDC,
Byron Stingily,
Judy Mowatt,
Bootsy Collins,
Scan 7,
The Jesus and Mary Chain,
Arthur Verocai,
Goldenarms,
Boogie Down Productions,
Ludus,
Ten City,
Pete Rock & C.L. Smooth,
Cameo,
The Wake,
Robert Görl,
Motorama,
Junior Murvin,
John Foxx,
Rosa Yemen,
Echospace,
The Beau Brummels,
The Slits,
Country Joe & The Fish,
Brothers Johnson,
Peter & Gordon,
Slick Rick,
Ice-T,
Warsaw,
The Doobie Brothers,
Essential Logic,
Smog,
The West Coast Pop Art Experimental Band,
Al Stewart,
Chris Corsano,
The Neon Judgement,
La Düsseldorf,
Deutsch Amerikanische Freundschaft,
The Victims,
Marshall Jefferson,
Dead Boys,
Alphaville,
Ultra Naté,
The Sound,
Joy Division,
Gastr Del Sol,
Camouflage,
The Real Kids,
Nick Cave & The Bad Seeds,
Pharoah Sanders,
Siglo XX,
June of 44,
Godley & Creme,
Cal Tjader,
Bang on a Can All-Stars,
Parry Music,
Matthew Bourne,
Ossler,
the Bar-Kays,
The Evens,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.