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 Israel and from Accra.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Shanghai 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Big Daddy Kane to the electroclash kids.
I played it at the Hacienda.
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 Aaron Thompson. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Albert Ayler,
Ice-T,
Ultimate Spinach,
Magazine,
Quantec,
Joe Finger,
Susan Cadogan,
Yaz,
The Moody Blues,
Yusef Lateef,
Fugazi,
The Kinks,
Oneida,
Ralphi Rosario,
Henry Cow,
Thee Headcoats,
Delon & Dalcan,
Kerrie Biddell,
Black Sheep,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
X-Ray Spex,
The Techniques,
Carl Craig,
Amazonics,
The Barracudas,
Echo & the Bunnymen,
Deadbeat,
June of 44,
Alton Ellis,
Newcleus,
The Beau Brummels,
The Monks,
Wighnomy Brothers & Robag Wruhme,
LL Cool J,
Qualms,
This Heat,
Marmalade,
The Cosmic Jokers,
Los Fastidios,
Grauzone,
David Bowie,
Black Pus,
the Swans,
Rowland S Howard / Lydia Lunch,
PIL,
De La Soul & Jungle Brothers,
Bill Wells,
David McCallum,
Underground Resistance,
Althea and Donna,
The Trojans,
Siglo XX,
Sun Ra,
The Mummies,
Letta Mbulu,
Bobby Hutcherson,
Goldenarms,
Dennis Brown,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.