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 Botswana and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the rap kids.
I played it at CBGB's.
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 The Buckinghams. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Colin Newman 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Black Flag,
48th St. Collective,
Jeff Mills,
Malaria!,
Bobby Byrd,
the Germs,
Ajijia Myrayebe,
Marc Romboy vs. Booka Shade,
Matthew Bourne,
Thompson Twins,
Subhumans,
E-Dancer,
Bootsy's Rubber Band,
Joey Negro,
Harpers Bizarre,
Bronski Beat,
Big Daddy Kane,
Magazine,
Television Personalities,
Erasure,
Eurythmics,
Morten Harket,
Marvin Gaye,
The Mojo Men,
Television,
The Trojans,
Joe Smooth,
Ice-T,
Steve Hackett,
The Vogues,
Massinfluence,
Flamin' Groovies,
the Swans,
Bang on a Can All-Stars,
the Soft Cell,
Royal Trux,
Kerri Chandler,
Parry Music,
Make Up,
Hardrive,
Vaughan Mason & Crew,
Slave,
Suburban Knight,
Bobby Womack,
Traffic Nightmare,
The Happenings,
Gil Scott Heron,
Spandau Ballet,
Zapp,
Ponytail,
Stetsasonic,
Charles Mingus,
Essential Logic,
Eli Mardock,
Alison Limerick,
Drexciya,
Black Sheep,
Yellowson,
JFA,
Kevin Saunderson,
the Sonics,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.