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 China and from Lille.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Toronto 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the güiro 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 New York Dolls to the jazz kids.
I played it at the Astoria.
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 Kings Of Tomorrow. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
F. McDonald,
Pagans,
DJ Sneak,
The Gories,
Depeche Mode,
Deakin,
X-102,
Maurizio,
Television,
Ash Ra Tempel,
The Black Dice,
The Smoke,
Nation of Ulysses,
Siglo XX,
Urselle,
Reuben Wilson,
Crooked Eye,
Robert Görl,
Siouxsie and the Banshees,
New York Dolls,
Kayak,
Donald Byrd,
Stereo Dub,
Charles Mingus,
Soulsonic Force,
Ten City,
Soul II Soul,
Young Marble Giants,
The Real Kids,
Pussy Galore,
Grauzone,
Eden Ahbez,
Glenn Branca,
Bob Dylan,
Andrew Ashong & Theo Parrish,
The Remains,
Bluetip,
Eli Mardock,
Lalann,
Cluster,
The Busters,
Anthony Braxton,
Fugazi,
Trumans Water,
Negative Approach,
Danielle Patucci,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Smiths,
Spandau Ballet,
Neil Young & Crazy Horse,
Letta Mbulu,
Lee Hazlewood,
Stiv Bators,
The West Coast Pop Art Experimental Band,
Qualms,
Jeff Lynne,
the Human League,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.