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 Guinea 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 1964 to 1976.
I'm losing my edge.
To all the kids in Accra and Tehran.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Charles Mingus to the grime kids.
I played it at Cafe Wha.
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 Skriet. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Neu! 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Terry Callier,
Nation of Ulysses,
Deadbeat,
Cymande,
Stiv Bators,
Bobby Byrd,
Delta 5,
Mr. Review,
Byron Stingily,
A Flock of Seagulls,
The Alarm Clocks,
DJ Sneak,
Faust,
Moby Grape,
Organ,
Crash Course in Science,
The Moody Blues,
Graham Central Station,
The Peanut Butter Conspiracy,
Bootsy's Rubber Band,
Angels of Light & Akron/Family,
Au Pairs,
Tomorrow,
Cybotron,
Skaos,
Quando Quango,
Flash Fearless,
Cecil Taylor,
Jawbox,
Scan 7,
Don Cherry,
Harry Pussy,
Zero Boys,
David Axelrod,
Ituana,
Bizarre Inc.,
Black Moon,
The Vogues,
Minor Threat,
Arthur Verocai,
Thinking Fellers Union Local 282,
Roy Ayers,
Qualms,
Yazoo,
F. McDonald,
Notorious Big And Bone Thugs,
Nick Fraelich,
Albert Ayler,
Supertramp,
Cheater Slicks,
Terrestrial Tones,
Godley & Creme,
Gichy Dan,
Deakin,
Ultra Naté,
Anthony Braxton,
the Normal,
Thee Headcoats,
Kool Moe Dee,
Scott Walker,
Arcadia, Arcadia, Arcadia, Arcadia.
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.