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 Mexico and from Seoul.
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 Lyon and Houston.
I'm losing my edge to the art-school Halifax 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Babytalk to the rap kids.
I played it at the Roxy.
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 Gichy Dan. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis 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?
Anthony Braxton,
Country Teasers,
Glenn Branca,
Andrew Hill,
Pole,
Pere Ubu,
Wings,
Ultramagnetic MC's,
Essential Logic,
Todd Terry,
The Sound,
The Gap Band,
Arcadia,
Bill Near,
Chrome,
Unrelated Segments,
Graham Central Station,
Cymande,
Robert Hood,
In Retrospect,
Gastr Del Sol,
JFA,
Cecil Taylor,
Skarface,
Grandmaster Flash,
Andrew Ashong & Theo Parrish,
Monks,
Amazonics,
Mo-Dettes,
Joe Smooth,
Donald Byrd,
Franke,
Cameo,
Pylon,
Gang Starr,
Motorama,
Freddie Wadling,
Infiniti,
Saccharine Trust,
The Sonics,
Yellowson,
Mary Jane Girls,
Japan,
Amon Düül,
Be Bop Deluxe,
Sexual Harrassment,
Absolute Body Control,
Cabaret Voltaire,
10cc,
Neu!,
The Raincoats,
Frankie Knuckles,
KRS-One,
Ralphi Rosario,
Bang On A Can,
Ronnie Foster,
Harpers Bizarre,
Soul II Soul,
The Detroit Cobras,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.