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 Congo and from Salvador.
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 1979.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Milan 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 AZ 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 Sun Ra Arkestra. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Chris & Cosey 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Terry Callier,
Mars,
Amazonics,
Marine Girls,
Heavy D & The Boyz,
Eve St. Jones,
Moss Icon,
Pulsallama,
Lakeside,
Grandmaster Flash and the Furious Five,
Jeff Mills,
Nico,
Sun Ra,
Glenn Branca,
Byron Stingily,
Malaria!,
Con Funk Shun,
Graham Central Station,
Sonny Sharrock,
It's A Beautiful Day,
The West Coast Pop Art Experimental Band,
Au Pairs,
Nick Fraelich,
Arcadia,
Suicide,
LL Cool J,
Urselle,
A Certain Ratio,
Crash Course in Science,
Quadrant,
Zero Boys,
Delta 5,
Aaron Thompson,
Glambeats Corp.,
Lou Reed & Metallica,
The Last Poets,
Jerry's Kids,
The Leaves,
Circle Jerks,
The Techniques,
Connie Case,
Saccharine Trust,
Minnie Riperton,
The Walker Brothers,
The Real Kids,
Joe Smooth,
Fat Boys,
Toni Rubio,
Funkadelic,
The Mighty Diamonds,
Deadbeat,
Bronski Beat,
Yusef Lateef,
The J.B.'s,
The Neon Judgement,
Bill Near,
Underground Resistance,
The Motions,
Soul II Soul,
Grauzone,
Babytalk,
Black Pus,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.