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 Morocco 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 1969 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Massinfluence to the jazz kids.
I played it at the Spitz.
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 Soul II Soul. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Matthew Bourne 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Wasted Youth,
Aaron Thompson,
Boredoms,
Nation of Ulysses,
Desert Stars,
Bill Wells,
Jesper Dahlback,
Patti Smith,
Unwound,
John Cale,
Henry Cow,
Ajijia Myrayebe,
Slave,
Lindisfarne,
Tres Demented,
Johnny Clarke,
The Detroit Cobras,
Eric Dolphy,
The Real Kids,
John Coltrane,
Ten City,
Robert Görl,
Royal Trux,
Rotary Connection,
the Slits,
Liliput,
Gil Scott-Heron & Brian Jackson,
Althea and Donna,
Max Romeo,
Cal Tjader,
Cecil Taylor,
Andrew Hill,
Easy Going,
Justin Hinds & The Dominoes,
Eurythmics,
Hot Snakes,
Smog,
Dave Gahan,
L. Decosne,
Television,
Reuben Wilson,
Ken Boothe,
Derrick Morgan,
Traffic Nightmare,
Soft Machine,
the Normal,
ABBA,
The Fugs,
Pharoah Sanders,
Eddi Front,
London Community Gospel Choir,
Funky Four + One,
Kaleidoscope,
Model 500,
MC5,
Suburban Knight,
Lalann,
Charles Mingus,
Kerri Chandler,
Qualms,
Fatback Band,
Hashim, Hashim, Hashim, Hashim.
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.