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 Bangladesh and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 UT to the crunk 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 The Music Machine. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal dance 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Banda Bassotti,
E-Dancer,
Rufus Thomas,
Motorama,
Quantec,
Vaughan Mason & Crew,
The Stooges,
EPMD,
the Germs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantytec,
Cecil Taylor,
Brothers Johnson,
Super Lover Cee & Casanova Rud,
The Victims,
The Mummies,
China Crisis,
Carl Craig,
MC5,
Model 500,
The J.B.'s,
Lakeside,
Main Source,
Metal Thangz,
The Blues Magoos,
Nik Kershaw,
The Names,
The Birthday Party,
The Doobie Brothers,
Fear,
Nils Olav,
Judy Mowatt,
Stereo Dub,
Kayak,
Peter Gordon & Love of Life Orchestra,
The Invisible,
Ice-T,
The Modern Lovers,
Al Stewart,
Yellowson,
The Fugs,
The Young Rascals,
The Tremeloes,
The Beau Brummels,
MDC,
Marshall Jefferson,
The Sound,
Jawbox,
Los Fastidios,
Mary Jane Girls,
Stockholm Monsters,
The Velvet Underground,
Marmalade,
Crispian St. Peters,
Rowland S Howard / Lydia Lunch,
Erasure,
Maleditus Sound,
Bill Near,
Vladislav Delay,
Wolf Eyes,
Accadde A, Accadde A, Accadde A, Accadde A.
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.