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 India and from Accra.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Glasgow 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 snare 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 The Doors to the jazz kids.
I played it at the Roxy.
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 PIL. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Tom Boy,
The Dirtbombs,
Pylon,
Peter & Gordon,
Moss Icon,
The Gap Band,
Donny Hathaway,
Drexciya,
Althea and Donna,
EPMD,
Lalo Schifrin,
Lucky Dragons,
Brass Construction,
Colin Newman,
Grandmaster Flash,
Kings Of Tomorrow,
Andrew Hill,
Nirvana,
Gian Franco Pienzio,
The Cramps,
Ituana,
Malaria!,
Scott Walker,
Kenny Larkin,
Eric Dolphy,
Brand Nubian,
The Associates,
Peter and Kerry,
The Kinks,
Eddi Front,
Niagra,
The Pretty Things,
Marmalade,
Ronnie Foster,
Lyres,
Black Bananas,
Rapeman,
Oneida,
The Mummies,
Henry Cow,
Sarah Menescal,
Robert Görl,
Aswad,
Joe Finger,
Skaos,
Derrick May,
Pantytec,
the Bar-Kays,
The Vogues,
Cluster,
Alton Ellis,
Newcleus,
Beasts of Bourbon,
Marcia Griffiths,
48th St. Collective,
Neil Young & Crazy Horse,
The Golliwogs,
Duran Duran,
The Grass Roots,
Wings,
Erykah Badu,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.