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 Nauru and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Tehran 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 theremin 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 Normal to the dance 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 Little Man. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal rap 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
the Human League,
James White and The Blacks,
Max Romeo,
The Gap Band,
Todd Terry,
Bobby Hutcherson,
Funky Four + One,
Spandau Ballet,
Electric Light Orchestra,
The Skatalites,
The Index,
Negative Approach,
Alice Coltrane,
Maleditus Sound,
Henry Cow,
Stockholm Monsters,
Soul II Soul,
Flash Fearless,
the Association,
Soft Machine,
Gregory Isaacs,
Morten Harket,
James Chance & The Contortions,
The West Coast Pop Art Experimental Band,
Brand Nubian,
Freddie Wadling,
The Neon Judgement,
Beasts of Bourbon,
Ultramagnetic MC's,
Mr. Review,
Ornette Coleman,
The Chocolate Watch Band,
Aural Exciters,
Dead Boys,
Red Lorry Yellow Lorry,
Circle Jerks,
Soulsonic Force,
Danielle Patucci,
Colin Newman,
Albert Ayler,
Blake Baxter,
Second Layer,
Sugar Minott,
Sad Lovers and Giants,
Jimmy McGriff,
Big Daddy Kane,
The Last Poets,
Television,
Gastr Del Sol,
Kurtis Blow,
The Modern Lovers,
Dark Day,
Intrusion,
China Crisis,
Yazoo,
Tomorrow,
The Angels of Light,
Vaughan Mason & Crew,
Pharoah Sanders,
Pylon,
Lebanon Hanover,
Justin Hinds & The Dominoes,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.