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 Bhutan and from Lagos.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Accra 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ 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 The Alarm Clocks to the techno kids.
I played it at Cafe Wha.
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 John Holt. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Suburban Knight,
Fear,
Tom Boy,
Don Cherry,
Rosa Yemen,
Zero Boys,
Pantaleimon,
Groovy Waters,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
Leonard Cohen,
Panda Bear,
X-102,
Qualms,
Scott Walker + Sunn O))),
Sam Rivers,
K-Klass,
Gang of Four,
Janne Schatter,
The Seeds,
The Sisters of Mercy,
KRS-One,
Morten Harket,
Idris Muhammad,
Smog,
Roger Hodgson,
Ituana,
Jandek,
Technova,
Ohio Players,
Rapeman,
The Mummies,
Sparks,
Captain Beefheart & His Magic Band,
Cheater Slicks,
Grandmaster Flash and the Furious Five,
Jesper Dahlback,
Yellowson,
Jacob Miller,
Wasted Youth,
Radio Birdman,
David McCallum,
Fort Wilson Riot,
Vainqueur,
Lou Reed,
John Holt,
Brothers Johnson,
Reagan Youth,
Sex Pistols,
Notorious Big And Bone Thugs,
Goldenarms,
Lalo Schifrin,
La Düsseldorf,
Bobby Byrd,
London Community Gospel Choir,
The Music Machine,
Wally Richardson,
Gil Scott-Heron & Brian Jackson,
Charles Mingus,
Eden Ahbez,
The Searchers,
Sound Behaviour,
Minor Threat,
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.