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 Mongolia and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1970.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Stockholm 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 Holger Czukay 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 Public Image Ltd. to the crunk kids.
I played it at Trash.
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 Alarm Clocks. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Supertramp 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro 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 Music Machine,
Black Bananas,
Larry & the Blue Notes,
Desert Stars,
It's A Beautiful Day,
Basic Channel,
Tubeway Army,
Lungfish,
The Litter,
Flash Fearless,
Roy Ayers Ubiquity,
Eric B and Rakim,
New Age Steppers,
Nick Cave & The Bad Seeds,
Boredoms,
Sixth Finger,
The Invisible,
Josef K,
Agent Orange,
Sun City Girls,
Alphaville,
Ituana,
Lou Reed & John Cale,
Bob Dylan,
Selector Dub Narcotic,
Easy Going,
Panda Bear,
Big Daddy Kane,
The Pop Group,
Delta 5,
Echospace,
Todd Rundgren,
David McCallum,
Funkadelic,
Royal Trux,
London Community Gospel Choir,
Tres Demented,
Skriet,
Bang On A Can,
Au Pairs,
Sun Ra Arkestra,
Brass Construction,
Maurizio,
Pet Shop Boys,
Cal Tjader,
Mary Jane Girls,
Quantec,
The Five Americans,
The Stooges,
Dave Gahan,
X-101,
The Real Kids,
Arab on Radar,
Notorious Big And Bone Thugs,
Leonard Cohen,
Stiv Bators,
The Fortunes,
The Evens,
Frankie Knuckles,
The Shadows of Knight,
Sight & Sound,
Soul Sonic Force,
Average White Band, Average White Band, Average White Band, Average White Band.
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.