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 Dominican Republic and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Portland and London.
I'm losing my edge to the art-school Mumbai 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 808 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 Derrick Morgan to the grunge 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 Cabaret Voltaire. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal dance 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
The Busters,
kango's stein massive,
Tim Buckley,
Bronski Beat,
Stetsasonic,
Pussy Galore,
Matthew Bourne,
Pharoah Sanders,
Terry Callier,
H. Thieme,
Juan Atkins,
Lou Christie,
Crooked Eye,
Grandmaster Flash,
Red Lorry Yellow Lorry,
Drive Like Jehu,
The Black Dice,
Dawn Penn,
The Gories,
Ken Boothe,
Arab on Radar,
Danielle Patucci,
Skarface,
Rakim,
Scion,
Youth Brigade,
Pharaoh Sanders and the Fire Engines,
Section 25,
48th St. Collective,
The Buckinghams,
Marc Romboy vs. Booka Shade,
Rahsaan Roland Kirk,
10cc,
London Community Gospel Choir,
Albert Ayler,
Oneida,
Be Bop Deluxe,
Royal Trux,
Visionaries,LMNO, T- Love & Iriscience,
New York Dolls,
The Cramps,
the Association,
Joyce Sims,
Connie Case,
Scan 7,
Ajijia Myrayebe,
The United States of America,
Accadde A,
DJ Sneak,
Brick,
Technova,
Urselle,
Joe Smooth,
Organ,
Carl Craig,
Kaleidoscope,
Anakelly,
Nation of Ulysses,
Silicon Teens,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.