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 Mexico and from Milan.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Delhi 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 Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Black Pus to the crunk kids.
I played it at the Spitz.
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 Blake Baxter. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Cameo 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord 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 rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Liaisons Dangereuses,
Mo-Dettes,
Art Ensemble Of Chicago,
The Martian,
The Golliwogs,
Don Cherry,
John Foxx,
Nik Kershaw,
Arab on Radar,
Sonny Sharrock,
Johnny Osbourne,
The Saints,
Faust,
Moss Icon,
Rowland S Howard / Lydia Lunch,
Television Personalities,
Accadde A,
Lalo Schifrin,
Magazine,
Warsaw,
Scan 7,
the Swans,
Boredoms,
Urselle,
Traffic Nightmare,
Tres Demented,
Curtis Mayfield,
Jerry's Kids,
Godley & Creme,
Soulsonic Force,
Alison Limerick,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Heaven 17,
Skarface,
Marc Almond,
James Chance & The Contortions,
Rhythim Is Rhythim,
Minnie Riperton,
Shuggie Otis,
The Detroit Cobras,
Sound Behaviour,
The United States of America,
Eric B and Rakim,
Flipper,
Yellowson,
The Happenings,
Drive Like Jehu,
Das Ding,
Bobby Byrd,
Soft Machine,
Glambeats Corp.,
Kerrie Biddell,
The Sisters of Mercy,
Joyce Sims,
Larry & the Blue Notes,
Ornette Coleman,
Dead Boys,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.