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 Angola and from Mumbai.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1979.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Manchester 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 rhodes 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 June Days to the electroclash 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 Notorious Big And Bone Thugs. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Mad Mike,
The Last Poets,
Masters at Work,
Quando Quango,
A Certain Ratio,
The Divine Comedy,
Black Moon,
Bobby Byrd,
Mark Hollis,
Radiohead,
Fifty Foot Hose,
The Gap Band,
Peter Gordon & Love of Life Orchestra,
U.S. Maple,
the Bar-Kays,
Letta Mbulu,
Marcia Griffiths,
Tomorrow,
Ossler,
Country Teasers,
Peter & Gordon,
Subhumans,
Eric Copeland,
Altered Images,
Pulsallama,
Marc Romboy vs. Booka Shade,
ABC,
Aural Exciters,
Wire,
The American Breed,
Kevin Saunderson,
Ten City,
Infiniti,
Unrelated Segments,
Bill Near,
Gang Starr,
MDC,
John Holt,
Pagans,
Marshall Jefferson,
Section 25,
Joey Negro,
Inner City,
Roy Ayers,
Alison Limerick,
Television,
Flamin' Groovies,
Underground Resistance,
Notorious BIG live in Amsterdam,
Pharoah Sanders,
Heaven 17,
Cameo,
Marine Girls,
Flash Fearless,
Franke,
Lou Reed & Metallica,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.