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 South Africa and from Sao Paulo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Liaisons Dangereuses to the jazz 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 Barbara Tucker. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal funk 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Aswad,
Roxette,
John Cale,
Ossler,
Soul II Soul,
Tomorrow,
Lebanon Hanover,
Notorious BIG live in Amsterdam,
Rhythim Is Rhythim,
Ice-T,
Derrick Morgan,
DJ Sneak,
Sun Ra Arkestra,
Jesper Dahlbäck,
Barbara Tucker,
Neil Young,
Ultimate Spinach,
Todd Terry,
Cecil Taylor,
Technova,
Drexciya,
Fela Kuti,
Pagans,
X-101,
Kool Moe Dee,
Warsaw,
Fad Gadget,
Moby Grape,
Chris & Cosey,
the Germs,
Eurythmics,
The Victims,
Khruangbin,
Althea and Donna,
Robert Hood,
Bad Manners,
Supertramp,
Todd Rundgren,
Jeff Lynne,
Roy Ayers Ubiquity,
Ronnie Foster,
Quadrant,
The Raincoats,
Con Funk Shun,
Ultramagnetic MC's,
Infiniti,
T.S.O.L.,
Jesper Dahlback,
Rowland S Howard / Lydia Lunch,
The Beau Brummels,
Interpol,
Morten Harket,
The New Christs,
Mad Mike,
Roger Hodgson,
Scientists,
Hoover,
Radiohead,
Schoolly D,
The Modern Lovers,
Wolf Eyes,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.