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 Malta and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 Aaron Thompson to the crunk kids.
I played it at the Spitz.
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 Chocolate Watch Band. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime 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 a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Make Up,
Eric B and Rakim,
Wolf Eyes,
Terrestrial Tones,
Sun Ra,
New Order,
Model 500,
The Trojans,
UT,
T. Rex,
Von Mondo,
Roxette,
Alison Limerick,
The Doors,
Lonnie Liston Smith,
Avey Tare,
Althea and Donna,
Ice-T,
Television,
Skaos,
Wighnomy Brothers & Robag Wruhme,
The Stooges,
Technova,
Pete Rock & C.L. Smooth,
Girls At Our Best!,
Electric Light Orchestra,
The Royal Family And The Poor,
Ultramagnetic MC's,
New Age Steppers,
John Holt,
Camberwell Now,
Selector Dub Narcotic,
The Sisters of Mercy,
Mandrill,
The Jesus and Mary Chain,
Soulsonic Force,
Minnie Riperton,
Crash Course in Science,
Surgeon,
Kenny Larkin,
Suburban Knight,
John Coltrane,
Avey Tare & Kría Brekkan,
Louis and Bebe Barron,
Maleditus Sound,
Popol Vuh,
Joyce Sims,
Rosa Yemen,
Rhythm & Sound,
Yellowson,
Royal Trux,
The Seeds,
Public Image Ltd.,
Oppenheimer Analysis,
Radio Birdman,
Thee Headcoats,
Ultra Naté,
Accadde A,
Wasted Youth,
Peter and Kerry,
Drive Like Jehu,
Bang On A Can,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.