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 Monaco and from Columbus.
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 1975.
I'm losing my edge.
To all the kids in Milan and Woodstock.
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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Stetsasonic to the funk kids.
I played it at the Astoria.
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 Jacques Brel. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
The American Breed,
The Real Kids,
Blossom Toes,
Röyhkä ja Rättö ja Lehtisalo,
Marmalade,
Nik Kershaw,
Vaughan Mason & Crew,
Gong,
The Fire Engines,
X-101,
Unwound,
Max Romeo,
Kas Product,
Joey Negro,
Subhumans,
One Last Wish,
Idris Muhammad,
Zero Boys,
Bang on a Can All-Stars,
The Detroit Cobras,
Thee Headcoats,
Robert Hood,
The Beau Brummels,
Michelle Simonal,
Black Sheep,
Aswad,
The Dave Clark Five,
The Alarm Clocks,
Ultravox,
Mantronix,
Erasure,
Rhythm & Sound,
Sight & Sound,
Newcleus,
The Five Americans,
Wings,
Procol Harum,
Notorious BIG live in Amsterdam,
X-Ray Spex,
New Age Steppers,
Roy Ayers Ubiquity,
Robert Görl,
Scott Walker,
Manfred Mann's Earth Band,
Lightning Bolt,
Negative Approach,
Stereo Dub,
Barry Ungar,
Carl Craig,
Sad Lovers and Giants,
Bill Wells,
UT,
Mad Mike,
Sound Behaviour,
Flipper,
Rakim,
The Raincoats,
Dave Gahan,
Fat Boys,
Eric B and Rakim,
Drexciya, Drexciya, Drexciya, Drexciya.
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.