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 Liberia and from Tokyo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Spokane 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 marimba 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 Ornette Coleman to the jazz kids.
I played it at CBGB's.
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 Panda Bear. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Sixth Finger 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Newcleus,
Joyce Sims,
Ultra Naté,
Grey Daturas,
Pharoah Sanders,
Man Parrish,
Surgeon,
Neil Young,
Bobby Sherman,
Motorama,
Half Japanese,
Henry Cow,
Johnny Osbourne,
Angry Samoans,
Aaron Thompson,
Lebanon Hanover,
Public Enemy,
Ken Boothe,
London Community Gospel Choir,
Liliput,
The Smoke,
ABBA,
Jeff Lynne,
the Human League,
Ice-T,
Roy Ayers Ubiquity,
Hoover,
Alison Limerick,
The Moody Blues,
T.S.O.L.,
A Flock of Seagulls,
The Star Department,
Jandek,
Q and Not U,
Rhythim Is Rhythim,
The Royal Family And The Poor,
Public Image Ltd.,
Lalann,
Dark Day,
Magma,
Amon Düül,
Sonny Sharrock,
Gil Scott-Heron & Brian Jackson,
Joey Negro,
Flamin' Groovies,
New Age Steppers,
The Electric Prunes,
Dave Gahan,
LL Cool J,
Colin Newman,
Rites of Spring,
Funky Four + One,
Severed Heads,
Laurel Aitken,
Das Ding,
Grandmaster Flash,
Beasts of Bourbon,
Bootsy Collins,
Amazonics,
Mark Hollis,
In Retrospect,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.