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 Uruguay and from Stockholm.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Taipei.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 David Bowie to the grunge kids.
I played it at the Hacienda.
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 Maleditus Sound. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
The Black Dice,
Dorothy Ashby,
Porter Ricks,
Make Up,
The Detroit Cobras,
Mission of Burma,
Ronnie Foster,
Rod Modell,
Con Funk Shun,
Pulsallama,
Amazonics,
Tres Demented,
Barry Ungar,
Deutsch Amerikanische Freundschaft,
Moby Grape,
The Busters,
Black Sheep,
The Shadows of Knight,
Lungfish,
Liaisons Dangereuses,
Morten Harket,
Surgeon,
Peter and Kerry,
Dark Day,
Lou Reed & John Cale,
Malaria!,
Fluxion,
Masters at Work,
Thompson Twins,
Marine Girls,
The J.B.'s,
Alton Ellis,
The Names,
Sunsets and Hearts,
Excepter,
The Red Krayola,
Freddie Wadling,
Monks,
K-Klass,
Darondo,
CMW,
Rhythim Is Rhythim,
Graham Central Station,
Fat Boys,
Joyce Sims,
The American Breed,
Lou Christie,
Eric B and Rakim,
Larry & the Blue Notes,
Minnie Riperton,
Bobbi Humphrey,
The Fuzztones,
Art Ensemble Of Chicago,
Symarip,
The Blackbyrds,
Bad Manners,
Ponytail,
Qualms,
The Sonics,
UT, UT, UT, UT.
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.