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 Nauru and from New York.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Lille 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 Ubu practice in a loft in Cleveland.
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 Dark Day 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 Ohio Players. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal techno 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 a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter 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?
Ajijia Myrayebe,
Masters at Work,
De La Soul & Jungle Brothers,
Brick,
Beasts of Bourbon,
Main Source,
Fad Gadget,
Alice Coltrane,
Make Up,
Pierre Henry,
Throbbing Gristle,
Rakim,
The Wake,
Motorama,
the Slits,
Eve St. Jones,
Quadrant,
Hasil Adkins,
Vaughan Mason & Crew,
James Chance & The Contortions,
John Holt,
Lightning Bolt,
Man Parrish,
Talk Talk,
Henry Cow,
Marc Almond,
Audionom,
The Saints,
Lonnie Liston Smith,
Rufus Thomas,
Johnny Osbourne,
Aural Exciters,
Pylon,
Country Joe & The Fish,
Kool G Rap & DJ Polo,
Royal Trux,
Grandmaster Flash,
Radiohead,
Eli Mardock,
The Happenings,
Vladislav Delay,
Sound Behaviour,
The Monochrome Set,
Pulsallama,
The Selecter,
Severed Heads,
Crime,
Oneida,
The Young Rascals,
Teenage Jesus and the Jerks,
Metal Thangz,
Sexual Harrassment,
Hardrive,
The Last Poets,
Isaac Hayes,
Bobby Byrd,
Neu!,
The Stooges,
Slick Rick,
Girls At Our Best!,
Joyce Sims,
CMW,
Trumans Water,
The Sisters of Mercy,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.