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 Mozambique and from Manchester.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Beijing 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Anthony Braxton to the electroclash 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 Traffic Nightmare. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal grime 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 a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Blackbyrds,
Albert Ayler,
Tom Boy,
Davy DMX,
Barry Ungar,
Al Stewart,
Unrelated Segments,
Fort Wilson Riot,
The Mummies,
Sound Behaviour,
Sparks,
The Cramps,
Don Cherry,
The Knickerbockers,
Mary Jane Girls,
World's Most,
Bobby Sherman,
Terror Squad Feat. Camron,
Kenny Larkin,
Notorious Big And Bone Thugs,
Scratch Acid,
Gian Franco Pienzio,
Crash Course in Science,
Absolute Body Control,
Rhythm & Sound,
Fela Kuti,
The Toasters,
Newcleus,
ABBA,
Marmalade,
The New Christs,
Grey Daturas,
Ralphi Rosario,
The Monks,
Mission of Burma,
Oppenheimer Analysis,
Fluxion,
Gastr Del Sol,
John Coltrane,
The Fortunes,
Aural Exciters,
The Barracudas,
Harpers Bizarre,
Sällskapet,
K-Klass,
8 Eyed Spy,
Scott Walker + Sunn O))),
Bang On A Can,
the Association,
Alton Ellis,
Nick Fraelich,
Sexual Harrassment,
Gil Scott Heron,
Faust,
Sticky Fingaz feat. Raekwon,
The Blues Magoos,
Metal Thangz,
Sun Ra,
Can,
L. Decosne,
Nirvana,
Fatback Band,
Adolescents, Adolescents, Adolescents, Adolescents.
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.