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 Niger and from Calgary.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Calgary and Toronto.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 disco kids.
I played it at Cafe Wha.
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 Warren Ellis. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub 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?
the Swans,
Brothers Johnson,
Ponytail,
Harry Pussy,
The Sound,
Rahsaan Roland Kirk,
Sex Pistols,
Hasil Adkins,
Delon & Dalcan,
Sight & Sound,
Arcadia,
Lou Reed,
Agitation Free,
Q and Not U,
The Doors,
New Order,
Peter and Kerry,
Matthew Bourne,
Audionom,
Fad Gadget,
The Happenings,
The Residents,
Judy Mowatt,
Skriet,
Derrick Morgan,
Masters at Work,
Cabaret Voltaire,
Malaria!,
Robert Görl,
Mo-Dettes,
ABC,
Henry Cow,
The Names,
Avey Tare,
Soulsonic Force,
Yusef Lateef,
Q65,
The Real Kids,
Sunsets and Hearts,
Godley & Creme,
Lee Hazlewood,
Scrapy,
Scott Walker + Sunn O))),
Massinfluence,
Outsiders,
Kings Of Tomorrow,
Deutsch Amerikanische Freundschaft,
Joensuu 1685,
Scientists,
Kas Product,
The Golliwogs,
48th St. Collective,
Nick Fraelich,
Echospace,
Technova,
China Crisis,
Blossom Toes,
Justin Hinds & The Dominoes,
Avey Tare & Kría Brekkan,
Black Sheep,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.