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 Equatorial Guinea and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Crispian St. Peters to the jazz 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 Robert Wyatt. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every the Association 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 '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
the Normal,
Deutsch Amerikanische Freundschaft,
Beasts of Bourbon,
Flipper,
Jerry's Kids,
Quantec,
Parry Music,
Can,
Donald Byrd,
Rahsaan Roland Kirk,
La Düsseldorf,
Sarah Menescal,
Scott Walker + Sunn O))),
John Cale,
Procol Harum,
Arab on Radar,
Moss Icon,
Major Organ And The Adding Machine,
John Lydon,
Country Teasers,
Deepchord,
Gong,
Q65,
Barclay James Harvest,
The Gap Band,
Porter Ricks,
Sun Ra,
Peter Gordon & Love of Life Orchestra,
Audionom,
Marc Almond,
It's A Beautiful Day,
Soft Machine,
DJ Style,
Wasted Youth,
Robert Wyatt,
Rakim,
The Residents,
The Wake,
Selector Dub Narcotic,
Barbara Tucker,
The Cramps,
The Slackers,
The Cure,
The Misunderstood,
Main Source,
Half Japanese,
Yazoo,
The Names,
Sun Ra Arkestra,
Supertramp,
Bush Tetras,
Girls At Our Best!,
Cal Tjader,
Siglo XX,
Eyeless In Gaza,
Fear,
The Litter,
Scott Walker,
The Fugs,
Camouflage,
Ash Ra Tempel,
Dark Day, Dark Day, Dark Day, Dark Day.
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.