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 Argentina and from Stockholm.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Human League to the punk kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Bauhaus,
Ohio Players,
Roy Ayers,
The Black Dice,
Eric Dolphy,
Todd Terry,
The Toasters,
KRS-One,
Isaac Hayes,
Q65,
Wally Richardson,
Eli Mardock,
Outsiders,
Fela Kuti,
Siglo XX,
The Cosmic Jokers,
Kayak,
Y Pants,
John Foxx,
The Mojo Men,
the Swans,
The Saints,
Angry Samoans,
The Happenings,
Con Funk Shun,
Ajijia Myrayebe,
June of 44,
Mad Mike,
Kenny Larkin,
the Bar-Kays,
Aural Exciters,
The Beau Brummels,
Flamin' Groovies,
Sam Rivers,
Mark Hollis,
Idris Muhammad,
Drive Like Jehu,
Rhythm & Sound,
The Skatalites,
The Gladiators,
Ultravox,
Crispian St. Peters,
The Doobie Brothers,
Lonnie Liston Smith,
Nico,
Echospace,
John Holt,
The Monochrome Set,
Captain Beefheart & His Magic Band,
Sly & The Family Stone,
Frankie Knuckles,
The Buckinghams,
Kings Of Tomorrow,
Sonny Sharrock,
Ten City,
Kool G Rap & DJ Polo,
The Vogues,
Massinfluence,
Negative Approach,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.