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 Denmark and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Lagos 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Gap Band 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 Electric Prunes. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal funk 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Harmonia,
Matthew Bourne,
The Divine Comedy,
Shuggie Otis,
F. McDonald,
Letta Mbulu,
The West Coast Pop Art Experimental Band,
Flipper,
Kool G Rap & DJ Polo,
Teenage Jesus and the Jerks,
Yusef Lateef,
Rekid,
London Community Gospel Choir,
Swans,
the Slits,
Tom Boy,
Rhythim Is Rhythim,
The New Christs,
Technova,
Jerry's Kids,
Justin Hinds & The Dominoes,
Stockholm Monsters,
X-Ray Spex,
The Raincoats,
Hardrive,
Lalo Schifrin,
Khruangbin,
Pere Ubu,
Model 500,
The Moody Blues,
Bootsy Collins,
Michelle Simonal,
Hoover,
Public Image Ltd.,
Mr. Review,
The Dead C,
Davy DMX,
Mars,
Sixth Finger,
Bad Manners,
Pharaoh Sanders and the Fire Engines,
Nas,
The Doors,
Fat Boys,
Cybotron,
The Velvet Underground,
The Blues Magoos,
Brand Nubian,
Ultravox,
Yaz,
Ultimate Spinach,
Lucky Dragons,
Bill Near,
Lower 48,
The Stooges,
The Selecter,
Rapeman,
The Sound,
Pet Shop Boys,
The Alarm Clocks,
Delta 5,
The Neon Judgement,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.