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 Taiwan and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 Marvin Gaye to the grime 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 Avey Tare's Slasher Flicks. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Oppenheimer Analysis,
Nik Kershaw,
Japan,
Ajijia Myrayebe,
Dual Sessions,
The Mighty Diamonds,
Make Up,
Whodini,
Eddi Front,
kango's stein massive,
Angry Samoans,
Tom Boy,
Shuggie Otis,
Alison Limerick,
The Wake,
Shoche,
Sun City Girls,
Second Layer,
Darondo,
Cymande,
Lou Reed,
In Retrospect,
The Jesus and Mary Chain,
Roger Hodgson,
These Immortal Souls,
Kango’s Stein Massive,
Youth Brigade,
Maurizio,
Schoolly D,
Stetsasonic,
One Last Wish,
Angels of Light & Akron/Family,
Jandek,
Brick,
Magma,
Rites of Spring,
U.S. Maple,
Jerry Gold Smith,
Cecil Taylor,
Essential Logic,
Porter Ricks,
Wolf Eyes,
John Foxx,
Bob Dylan,
Bronski Beat,
Kool Moe Dee,
Half Japanese,
Crash Course in Science,
Roxette,
Sex Pistols,
Amazonics,
Bang on a Can All-Stars,
The Walker Brothers,
Dawn Penn,
Inner City,
The Busters,
The Stooges,
Tomorrow,
The Dirtbombs,
Justin Hinds & The Dominoes,
Mars, Mars, Mars, Mars.
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.