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 Moldova and from Manchester.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Lagos 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 rhodes 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 Grey Daturas to the dance 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 Sexual Harrassment. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Boz Scaggs 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Deepchord,
Scratch Acid,
Public Image Ltd.,
Eli Mardock,
Underground Resistance,
Mars,
Roy Ayers Ubiquity,
Toni Rubio,
UT,
The Smiths,
The Human League,
DeepChord presents Echospace,
H. Thieme,
Ohio Players,
Cybotron,
Television,
Wire,
48th St. Collective,
The Black Dice,
The Sound,
Lalann,
Eurythmics,
Bauhaus,
Sound Behaviour,
the Bar-Kays,
Aloha Tigers,
Pantytec,
New Order,
Beasts of Bourbon,
Siglo XX,
Jawbox,
Black Bananas,
This Heat,
KRS-One,
Vaughan Mason & Crew,
Alphaville,
Q and Not U,
Strawberry Alarm Clock,
Jandek,
Rakim,
Ice-T,
Bang On A Can,
Amazonics,
The Slits,
Sunsets and Hearts,
Peter and Kerry,
Justin Hinds & The Dominoes,
Ludus,
Vladislav Delay,
Anakelly,
Orchestral Manoeuvres in the Dark,
The Evens,
Boz Scaggs,
Delon & Dalcan,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Young Marble Giants,
Notorious BIG live in Amsterdam,
Janne Schatter,
Oblivians,
Angels of Light & Akron/Family,
Heaven 17,
Liliput, Liliput, Liliput, Liliput.
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.