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 Australia and from Jakarta.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Taipei and Paris.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Ronnie Foster 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 Todd Terry. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
The Offenders,
Howard Jones,
Mandrill,
Ohio Players,
U.S. Maple,
The Jesus and Mary Chain,
UT,
Audionom,
The Techniques,
Black Flag,
Technova,
Tim Buckley,
De La Soul & Jungle Brothers,
Qualms,
Fad Gadget,
Aaron Thompson,
Beasts of Bourbon,
Wighnomy Brothers & Robag Wruhme,
Kool G Rap & DJ Polo,
Crooked Eye,
Livin' Joy,
Stiv Bators,
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
the Soft Cell,
Harpers Bizarre,
Newcleus,
Angels of Light & Akron/Family,
DeepChord presents Echospace,
Sugar Minott,
Surgeon,
Kenny Larkin,
Brick,
A Flock of Seagulls,
L. Decosne,
Kool Moe Dee,
Section 25,
June of 44,
Dawn Penn,
Urselle,
Althea and Donna,
Fluxion,
Organ,
Jacques Brel,
Rapeman,
Grandmaster Flash,
Unrelated Segments,
Schoolly D,
These Immortal Souls,
The Misunderstood,
Piero Umiliani,
Joe Finger,
Man Eating Sloth,
Bobby Hutcherson,
Juan Atkins,
Roxette,
Junior Murvin,
The Slits,
Johnny Clarke,
Scan 7,
Reagan Youth,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.