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 Nauru and from Manila.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Strawberry Alarm Clock to the jazz 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 Maurizio. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
David Axelrod,
Soul II Soul,
U.S. Maple,
Outsiders,
Matthew Bourne,
The Doors,
Red Lorry Yellow Lorry,
B.T. Express,
Jandek,
Leonard Cohen,
F. McDonald,
The Moody Blues,
The Names,
John Coltrane,
Grandmaster Flash,
Masters at Work,
The United States of America,
Von Mondo,
Sly & The Family Stone,
Jacob Miller,
Wally Richardson,
Interpol,
The Last Poets,
The Count Five,
Swell Maps,
Yellowson,
The Slits,
Public Enemy,
Minnie Riperton,
Audionom,
Fifty Foot Hose,
Quadrant,
Can,
The Leaves,
Roger Hodgson,
Angry Samoans,
Tom Boy,
The Gladiators,
Jesper Dahlback,
Little Man,
Delon & Dalcan,
Bronski Beat,
PIL,
Kevin Saunderson,
Yaz,
the Germs,
Bootsy Collins,
Bizarre Inc.,
Rites of Spring,
Basic Channel,
Colin Newman,
The Smoke,
Tres Demented,
Boz Scaggs,
ABBA,
Delta 5,
Ohio Players,
Traffic Nightmare,
Brand Nubian,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.