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 Armenia and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Gil Scott-Heron and Jamie xx to the techno kids.
I played it at CBGB's.
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 Bill Wells. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Boz Scaggs,
Arthur Verocai,
Davy DMX,
Delon & Dalcan,
Sällskapet,
Anthony Braxton,
Bill Wells,
the Bar-Kays,
Crash Course in Science,
Wolf Eyes,
Ten City,
The Knickerbockers,
Stiv Bators,
Whodini,
Marc Romboy vs. Booka Shade,
Theoretical Girls,
Procol Harum,
Albert Ayler,
Roy Ayers Ubiquity,
Neil Young,
Bobby Womack,
the Normal,
Heaven 17,
La Düsseldorf,
Spoonie Gee,
Blossom Toes,
Yaz,
ABC,
The Moody Blues,
Black Pus,
Laurel Aitken,
Flipper,
Joensuu 1685,
Tim Buckley,
Cabaret Voltaire,
Lyres,
R.M.O.,
Skaos,
F. McDonald,
Youth Brigade,
Tears for Fears,
The Moleskins,
The Martian,
Idris Muhammad,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
Robert Wyatt,
The Gun Club,
Nation of Ulysses,
Ultimate Spinach,
Justin Hinds & The Dominoes,
Hot Snakes,
Roxette,
The Doobie Brothers,
Blancmange,
MC5,
Sonny Sharrock,
Public Image Ltd.,
Jesper Dahlbäck,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.