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 Canada and from Bremen.
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 1977.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Manila 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Selector Dub Narcotic to the rap kids.
I played it at the Crocodile.
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 Model 500. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Soul II Soul 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Suburban Knight,
the Bar-Kays,
Kings Of Tomorrow,
Aswad,
Public Enemy,
The Young Rascals,
The Five Americans,
Archie Shepp,
Dual Sessions,
Gregory Isaacs,
Beasts of Bourbon,
Royal Trux,
Juan Atkins,
Alphaville,
Livin' Joy,
The Dave Clark Five,
Letta Mbulu,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
The Mighty Diamonds,
Derrick Morgan,
Mantronix,
Tears for Fears,
Connie Case,
Electric Prunes,
Cecil Taylor,
Grandmaster Flash,
Bobbi Humphrey,
Ken Boothe,
Pussy Galore,
Glenn Branca,
Rapeman,
Sight & Sound,
Circle Jerks,
X-101,
Visage,
Ten City,
The Wake,
Das Ding,
Monks,
Marc Romboy vs. Booka Shade,
Ralphi Rosario,
Sarah Menescal,
Panda Bear,
The Mojo Men,
Ohio Players,
The Beau Brummels,
Angry Samoans,
Peter Gordon & Love of Life Orchestra,
Ituana,
Ice-T,
The Martian,
Little Man,
Reuben Wilson,
The Index,
Kerrie Biddell,
The Sonics,
Basic Channel,
Soft Machine,
The Star Department,
JFA, JFA, JFA, JFA.
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.