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 Rwanda and from Edmonton.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Soft Machine to the dance kids.
I played it at the 40 Watt.
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 Althea and Donna. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Flash Fearless 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Zero Boys,
Nick Fraelich,
Danielle Patucci,
Arab on Radar,
The Offenders,
T. Rex,
Symarip,
Fort Wilson Riot,
The Detroit Cobras,
Inner City,
Alice Coltrane,
Joyce Sims,
Sun City Girls,
The Fuzztones,
Siouxsie and the Banshees,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
Fifty Foot Hose,
Brand Nubian,
Buzzcocks,
The Monks,
Ten City,
Liaisons Dangereuses,
Roy Ayers,
Whodini,
Anthony Braxton,
Be Bop Deluxe,
Dead Boys,
Sparks,
Ultimate Spinach,
Leonard Cohen,
Youth Brigade,
Ken Boothe,
Simply Red,
The Wake,
Swans,
KRS-One,
Blancmange,
The Invisible,
The Blues Magoos,
Lyres,
kango's stein massive,
Ohio Players,
Vainqueur,
Jacques Brel,
Eli Mardock,
Connie Case,
The Busters,
Sexual Harrassment,
Dorothy Ashby,
The Modern Lovers,
Eric B and Rakim,
Joy Division,
Bronski Beat,
Davy DMX,
London Community Gospel Choir,
Los Fastidios,
K-Klass,
Patti Smith,
The Dave Clark Five,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.