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 St Lucia and from Lyon.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Lucky Dragons to the rock kids.
I played it at the Hacienda.
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 Half Japanese. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Roy Ayers 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Patti Smith,
Kango’s Stein Massive,
Symarip,
The J.B.'s,
Sad Lovers and Giants,
Swell Maps,
Bush Tetras,
Byron Stingily,
Porter Ricks,
The Red Krayola,
Rakim,
Tommy Roe,
Chrome,
The Mojo Men,
Pharaoh Sanders and the Fire Engines,
8 Eyed Spy,
Godley & Creme,
CMW,
Lizzy Mercier Descloux,
Talk Talk,
F. McDonald,
Avey Tare & Kría Brekkan,
Jacques Brel,
Surgeon,
The Divine Comedy,
the Sonics,
Judy Mowatt,
Public Image Ltd.,
Be Bop Deluxe,
The Saints,
Minor Threat,
Pete Rock & C.L. Smooth,
Cecil Taylor,
The Five Americans,
Tubeway Army,
Bill Near,
The Cosmic Jokers,
Fifty Foot Hose,
Nation of Ulysses,
Sex Pistols,
Kerri Chandler,
Michelle Simonal,
Slave,
Model 500,
Red Lorry Yellow Lorry,
the Soft Cell,
Laurel Aitken,
Anthony Braxton,
The Sonics,
Gil Scott-Heron and Jamie xx,
Second Layer,
Parry Music,
Avey Tare,
OOIOO,
Maurizio,
The Barracudas,
The Leaves,
Fela Kuti,
Wings,
The Trojans,
Main Source,
Rosa Yemen,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.