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 Azerbaijan and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Accra 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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Sexual Harrassment to the jazz 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 The Fortunes. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Sällskapet,
Heaven 17,
Bang On A Can,
Model 500,
Theoretical Girls,
FM Einheit,
Bill Wells,
Nick Cave & The Bad Seeds,
The Saints,
Pole,
Tres Demented,
The Human League,
Delta 5,
Godley & Creme,
Moss Icon,
The Gun Club,
Kevin Saunderson,
Public Image Ltd.,
The Men They Couldn't Hang,
Ajijia Myrayebe,
The Last Poets,
Alice Coltrane,
Oneida,
Los Fastidios,
The Mummies,
OOIOO,
The Moody Blues,
Rakim,
Sam Rivers,
Tomorrow,
John Coltrane,
Eric B and Rakim,
R.M.O.,
Loose Ends,
Major Organ And The Adding Machine,
Barry Ungar,
New York Dolls,
Soft Machine,
The Alarm Clocks,
Boz Scaggs,
Max Romeo,
The Blackbyrds,
Ken Boothe,
Grandmaster Flash,
Grauzone,
The Names,
The Detroit Cobras,
Davy DMX,
The Star Department,
Cal Tjader,
The Slits,
Terrestrial Tones,
Zapp,
Big Daddy Kane,
Rekid,
Cecil Taylor,
Justin Hinds & The Dominoes,
Notorious Big And Bone Thugs,
The Slackers,
Thinking Fellers Union Local 282,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.