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 Brazil and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Trojans to the disco kids.
I played it at the 40 Watt.
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 Big Daddy Kane. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Simply Red,
Sarah Menescal,
The Moleskins,
Pantytec,
Blancmange,
Notorious BIG live in Amsterdam,
Kool G Rap & DJ Polo,
DNA,
Nik Kershaw,
Sandy B,
Scratch Acid,
Bob Dylan,
Suburban Knight,
Charles Mingus,
Tom Boy,
Sam Rivers,
Mark Hollis,
Donald Byrd,
Chris & Cosey,
Bauhaus,
Beasts of Bourbon,
Soft Cell,
Cymande,
Peter & Gordon,
Interpol,
The Misunderstood,
Q65,
The Men They Couldn't Hang,
Anakelly,
Rites of Spring,
Dorothy Ashby,
Nils Olav,
Susan Cadogan,
Ossler,
Flamin' Groovies,
Ultramagnetic MC's,
Youth Brigade,
The Real Kids,
Fatback Band,
Bobby Hutcherson,
Mo-Dettes,
Robert Hood,
Lou Reed & Metallica,
The Dave Clark Five,
Terrestrial Tones,
Brass Construction,
Kayak,
Matthew Bourne,
the Bar-Kays,
Tropical Tobacco,
Carl Craig,
PIL,
The Durutti Column,
Dr. Dre and Snoop Doggy Dog,
Buzzcocks,
The Litter,
Slick Rick,
Liliput,
Steve Hackett,
Dennis Brown,
Electric Prunes,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.