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 Belarus and from New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Accra and Halifax.
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 808 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 Eve St. Jones to the jazz kids.
I played it at the Troubador.
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 The Kinks. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Von Mondo 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Roxy Music,
Sonny Sharrock,
Orchestral Manoeuvres in the Dark,
Spoonie Gee,
Ituana,
Deakin,
Richard Hell and the Voidoids,
Ornette Coleman,
The Smoke,
Ultravox,
Bill Near,
Matthew Bourne,
MDC,
June Days,
Lindisfarne,
Anakelly,
Davy DMX,
Don Cherry,
Kurtis Blow,
Brass Construction,
Hardrive,
Joyce Sims,
The Gories,
Newcleus,
Country Joe & The Fish,
Ohio Players,
The Searchers,
Juan Atkins,
Matthew Halsall,
Eli Mardock,
The Index,
D'Angelo,
The Fugs,
Jerry's Kids,
Minnie Riperton,
Marvin Gaye,
Rowland S Howard / Lydia Lunch,
Marmalade,
Jerry Gold Smith,
Soft Cell,
Cal Tjader,
The J.B.'s,
Siglo XX,
Ultramagnetic MC's,
Simply Red,
Blake Baxter,
Piero Umiliani,
The Invisible,
China Crisis,
Deepchord,
Jawbox,
Inner City,
Nico,
Sad Lovers and Giants,
Organ,
Eurythmics,
Terror Squad Feat. Camron,
Depeche Mode,
Lou Reed & John Cale,
Liaisons Dangereuses,
Lakeside, Lakeside, Lakeside, Lakeside.
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.