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 Belgium and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Bologna 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 marimba 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 Marcia Griffiths to the rock 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 Make Up. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every John Holt 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Fortunes,
Make Up,
Quadrant,
This Heat,
Gary Puckett & The Union Gap,
Cecil Taylor,
Groovy Waters,
Talk Talk,
Monolake,
Public Enemy,
Theoretical Girls,
The Busters,
Idris Muhammad,
Public Image Ltd.,
Banda Bassotti,
Harpers Bizarre,
Funkadelic,
Nas,
Gil Scott-Heron & Brian Jackson,
A Certain Ratio,
Sexual Harrassment,
The Cure,
Cymande,
Siouxsie and the Banshees,
The American Breed,
Soft Cell,
a-ha,
Pharaoh Sanders and the Fire Engines,
Aural Exciters,
Crime,
Ronan,
Bang On A Can,
Von Mondo,
Barrington Levy,
Gang Gang Dance,
Joyce Sims,
La Düsseldorf,
Bobby Womack,
Amazonics,
Nick Fraelich,
Stetsasonic,
Eyeless In Gaza,
Robert Görl,
Sound Behaviour,
James White and The Blacks,
Half Japanese,
Skriet,
Panda Bear,
The Associates,
Sad Lovers and Giants,
Jeff Lynne,
Maurizio,
The Human League,
Organ,
Scientists,
The Kinks,
Rhythim Is Rhythim,
The Jesus and Mary Chain,
Graham Central Station,
Rod Modell,
Harry Pussy,
Neu!, Neu!, Neu!, Neu!.
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.