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 Liberia and from Delhi.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 a-ha to the techno kids.
I played it at the Crocodile.
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 Aaron Thompson. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Masters at Work,
Bobbi Humphrey,
China Crisis,
Scratch Acid,
Adolescents,
Lou Reed,
X-Ray Spex,
Quando Quango,
Amazonics,
The Flesh Eaters,
Nils Olav,
Rotary Connection,
Arab on Radar,
Siglo XX,
Richard Hell and the Voidoids,
Dawn Penn,
Parry Music,
Gian Franco Pienzio,
Brass Construction,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tears for Fears,
The Misunderstood,
Stereo Dub,
Lafayette Afro Rock Band,
Motorama,
Hasil Adkins,
The Men They Couldn't Hang,
Cal Tjader,
Liliput,
Lyres,
JFA,
Von Mondo,
Donald Byrd,
Curtis Mayfield,
Dead Boys,
Los Fastidios,
John Cale,
Cluster,
Jacques Brel,
Ice-T,
Kurtis Blow,
The Divine Comedy,
Main Source,
The Electric Prunes,
The Barracudas,
Absolute Body Control,
Gary Puckett & The Union Gap,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Model 500,
The Cramps,
Rufus Thomas,
The New Christs,
Guru Guru,
Letta Mbulu,
Pussy Galore,
Soul Sonic Force,
A Certain Ratio,
AZ,
Gerry Rafferty,
Alton Ellis,
Todd Terry,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.