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 Pakistan and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
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 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 Gian Franco Pienzio to the rock kids.
I played it at the Astoria.
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 Howard Jones. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Subhumans,
Rakim,
Bootsy Collins,
Crime,
The Chocolate Watch Band,
The Star Department,
Magma,
Vladislav Delay,
Shoche,
CMW,
Crooked Eye,
The Durutti Column,
Grauzone,
Infiniti,
The Litter,
Smog,
The Gories,
L. Decosne,
Rahsaan Roland Kirk,
Marmalade,
The Last Poets,
David Bowie,
Flamin' Groovies,
Magazine,
a-ha,
Anthony Braxton,
Byron Stingily,
The Tremeloes,
cv313,
Crash Course in Science,
Boredoms,
Schoolly D,
Captain Beefheart & His Magic Band,
Ultravox,
Nils Olav,
Lafayette Afro Rock Band,
T.S.O.L.,
Vainqueur,
The Shadows of Knight,
Funkadelic,
Skaos,
Dawn Penn,
Leonard Cohen,
Minutemen,
Big Daddy Kane,
Wally Richardson,
The Dead C,
Wasted Youth,
Eyeless In Gaza,
The Fugs,
The Fuzztones,
X-101,
Niagra,
Joe Smooth,
K-Klass,
Joe Finger,
Johnny Osbourne,
Symarip,
Minnie Riperton,
The Men They Couldn't Hang,
The Blackbyrds,
Scientists,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.