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 Netherlands and from Shanghai.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Jakarta 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 Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Kas Product to the funk kids.
I played it at the Crocodile.
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 Bad Manners. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Orchestral Manoeuvres in the Dark,
Pantytec,
Lower 48,
Altered Images,
Kayak,
The Gladiators,
Wings,
The Chocolate Watch Band,
R.M.O.,
The Dave Clark Five,
James Chance & The Contortions,
The Skatalites,
Gong,
Rufus Thomas,
Eve St. Jones,
Black Moon,
The Zeros,
Alice Coltrane,
Aaron Thompson,
Kango’s Stein Massive,
Warsaw,
The Sound,
Bootsy Collins,
Davy DMX,
The Blackbyrds,
This Heat,
DeepChord presents Echospace,
Brick,
Electric Prunes,
John Foxx,
Faust,
Silicon Teens,
Von Mondo,
The Techniques,
Oneida,
Symarip,
Cymande,
Moss Icon,
X-101,
Amon Düül,
Ornette Coleman,
Man Parrish,
The Pop Group,
Lafayette Afro Rock Band,
The Raincoats,
Massinfluence,
Brass Construction,
Laurel Aitken,
Don Cherry,
Con Funk Shun,
Lungfish,
Monks,
Aloha Tigers,
Kerrie Biddell,
Jawbox,
The Red Krayola,
LL Cool J,
48th St. Collective,
Los Fastidios,
Ronnie Foster,
The Evens,
Ludus,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.