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 Uzbekistan and from Madrid.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Tokyo 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 clarinet 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 The Misunderstood to the funk kids.
I played it at the Spitz.
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 Graham Central Station. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Black Sheep,
Bootsy's Rubber Band,
Lucky Dragons,
The Happenings,
Johnny Osbourne,
Iggy Pop,
Visage,
Bobby Byrd,
Scientists,
Deadbeat,
The Grass Roots,
Metal Thangz,
The Doors,
The Last Poets,
Sly & The Family Stone,
Absolute Body Control,
Mission of Burma,
Lee Hazlewood,
Nils Olav,
Bizarre Inc.,
Sunsets and Hearts,
The Blues Magoos,
The Kinks,
Yaz,
The Human League,
Bluetip,
Brass Construction,
Jacques Brel,
Rotary Connection,
Vaughan Mason & Crew,
Bobby Hutcherson,
James White and The Blacks,
Crime,
Sad Lovers and Giants,
Trumans Water,
Gang Starr,
Bush Tetras,
Alton Ellis,
Au Pairs,
Liaisons Dangereuses,
The Names,
Skarface,
Ten City,
Todd Terry,
Dennis Brown,
Louis and Bebe Barron,
Black Flag,
Bauhaus,
U.S. Maple,
Minor Threat,
Slave,
Dual Sessions,
Godley & Creme,
Brothers Johnson,
Cymande,
Yazoo,
Soulsonic Force,
Intrusion,
Morten Harket,
The Motions, The Motions, The Motions, The Motions.
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.