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 Bolivia and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Masters at Work to the techno 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 Duran Duran. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal jazz 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 a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Super Lover Cee & Casanova Rud,
Agitation Free,
The Searchers,
Joe Finger,
Andrew Hill,
Derrick May,
Minnie Riperton,
Brass Construction,
Camouflage,
Siglo XX,
Steve Hackett,
Amazonics,
The Evens,
Max Romeo,
Rekid,
Piero Umiliani,
Albert Ayler,
The Mighty Diamonds,
Pussy Galore,
Newcleus,
Mars,
Dave Gahan,
Clear Light,
Donald Byrd,
Panda Bear,
Underground Resistance,
Howard Jones,
Man Parrish,
Jimmy McGriff,
Peter and Kerry,
Lindisfarne,
Black Bananas,
Roxette,
Thompson Twins,
ABBA,
Alice Coltrane,
Throbbing Gristle,
Japan,
David Axelrod,
Radiopuhelimet,
The Gun Club,
Harry Pussy,
The Mummies,
Lungfish,
Todd Terry,
Dual Sessions,
Stockholm Monsters,
Tres Demented,
Sixth Finger,
DJ Style,
The Sisters of Mercy,
Curtis Mayfield,
Jerry's Kids,
Smog,
The Modern Lovers,
Scratch Acid,
Wally Richardson,
Wire,
Gary Puckett & The Union Gap,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.