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 Sierra Leone and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Kool G Rap & DJ Polo to the rock kids.
I played it at the Hacienda.
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 Sight & Sound. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Mad Mike 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Graham Central Station,
Thompson Twins,
The Cramps,
The Electric Prunes,
Boogie Down Productions,
Bobby Womack,
The Buckinghams,
Louis and Bebe Barron,
Judy Mowatt,
Grandmaster Flash,
Notorious Big And Bone Thugs,
Kango’s Stein Massive,
Scott Walker + Sunn O))),
Unrelated Segments,
Outsiders,
Siglo XX,
Grauzone,
The Fugs,
Brass Construction,
Gabor Szabo,
Lyres,
Eyeless In Gaza,
The Birthday Party,
Isaac Hayes,
Boredoms,
Negative Approach,
KRS-One,
Silicon Teens,
Marine Girls,
Gil Scott Heron,
Michelle Simonal,
Derrick Morgan,
Neu!,
Arthur Verocai,
Roger Hodgson,
K-Klass,
Mission of Burma,
L. Decosne,
Lonnie Liston Smith,
Avey Tare & Kría Brekkan,
Joe Finger,
The Index,
Soul II Soul,
Avey Tare's Slasher Flicks,
Sixth Finger,
Skriet,
The Moleskins,
The Standells,
Saccharine Trust,
Q65,
Scott Walker,
Cecil Taylor,
Pharaoh Sanders and the Fire Engines,
Kurtis Blow,
Pere Ubu,
Ten City,
The Fire Engines,
Hoover,
Heavy D & The Boyz,
Zero Boys,
The Remains,
Wire,
Monolake, Monolake, Monolake, Monolake.
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.