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 Burundi and from Columbus.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Marshall Jefferson 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 The Smiths. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Frankie Knuckles 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
The Cowsills,
The American Breed,
Hashim,
The Invisible,
Boredoms,
Juan Atkins,
Jeru the Damaja,
Duran Duran,
Sound Behaviour,
Crash Course in Science,
Al Stewart,
Joyce Sims,
Albert Ayler,
Massinfluence,
Wire,
The Remains,
Rakim,
Prince Buster,
Thinking Fellers Union Local 282,
Kerrie Biddell,
the Fania All-Stars,
Minnie Riperton,
Ultra Naté,
Johnny Osbourne,
Motorama,
Mandrill,
Robert Wyatt,
Jesper Dahlback,
This Heat,
Anthony Braxton,
Tears for Fears,
Tropical Tobacco,
Hoover,
Harpers Bizarre,
Susan Cadogan,
Oblivians,
Ten City,
D'Angelo,
Franke,
The Residents,
The Sonics,
Procol Harum,
Buzzcocks,
Average White Band,
Matthew Bourne,
Bootsy Collins,
The Associates,
Lonnie Liston Smith,
Angels of Light & Akron/Family,
Archie Shepp,
New Order,
Scratch Acid,
The Chocolate Watch Band,
Colin Newman,
Model 500,
Sad Lovers and Giants,
The Smoke,
Chrome,
Ajijia Myrayebe,
Wally Richardson,
Alton Ellis,
Sugar Minott,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.