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 Dominican Republic and from Paris.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Portland and Bologna.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Angry Samoans to the rock kids.
I played it at the Troubador.
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 Procol Harum. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Siglo XX,
Pantytec,
The United States of America,
Masters at Work,
The Fortunes,
Ronnie Foster,
The Index,
Dorothy Ashby,
The Cramps,
Darondo,
Boredoms,
Bluetip,
Kings Of Tomorrow,
Curtis Mayfield,
Maurizio,
Ash Ra Tempel,
Bobby Sherman,
Trumans Water,
Eli Mardock,
The Motions,
John Foxx,
Mantronix,
Drive Like Jehu,
Rekid,
JFA,
Dennis Brown,
Simply Red,
Cluster,
Black Moon,
Tommy Roe,
Aloha Tigers,
Magazine,
The Pop Group,
The Moleskins,
Gang Gang Dance,
R.M.O.,
Babytalk,
The Slits,
Wings,
Brick,
Bobby Byrd,
Mr. Review,
Lucky Dragons,
Yazoo,
FM Einheit,
Liliput,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Heavy D & The Boyz,
Fat Boys,
Rhythm & Sound,
Monolake,
Ralphi Rosario,
Amon Düül,
Pylon,
Swans,
Swell Maps,
Throbbing Gristle,
The Young Rascals,
Nick Fraelich,
Roger Hodgson,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.