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 Russia and from Sao Paulo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Paris and Halifax.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 Masters at Work to the techno kids.
I played it at CBGB's.
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 The Jesus and Mary Chain. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Tres Demented,
Sugar Minott,
Public Enemy,
Marc Almond,
Grandmaster Flash and the Furious Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Doors,
Harpers Bizarre,
Guru Guru,
Red Lorry Yellow Lorry,
Gary Puckett & The Union Gap,
Jesper Dahlbäck,
Cheater Slicks,
Tom Boy,
Joey Negro,
Shoche,
Delta 5,
Sällskapet,
The Martian,
Rites of Spring,
Eddi Front,
U.S. Maple,
Yellowson,
Susan Cadogan,
Blossom Toes,
Niagra,
JFA,
Eric B and Rakim,
Fela Kuti,
Thinking Fellers Union Local 282,
Ultimate Spinach,
Marine Girls,
Adolescents,
Pet Shop Boys,
The Durutti Column,
The Jesus and Mary Chain,
David McCallum,
Soul II Soul,
Magazine,
Eli Mardock,
Minutemen,
Au Pairs,
8 Eyed Spy,
Suburban Knight,
Bad Manners,
Masters at Work,
MDC,
Joe Smooth,
Ultra Naté,
Roy Ayers Ubiquity,
The Monks,
Lalo Schifrin,
David Axelrod,
Jesper Dahlback,
K-Klass,
Eve St. Jones,
John Coltrane,
Fifty Foot Hose,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.