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 Congo and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Milan and Bologna.
I'm losing my edge to the art-school Paris 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 oboe 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 Fort Wilson Riot to the jazz kids.
I played it at the Astoria.
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 Michelle Simonal. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every E-Dancer 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Wings,
The Jesus and Mary Chain,
Electric Light Orchestra,
Terrestrial Tones,
Gabor Szabo,
Nils Olav,
Youth Brigade,
Jeru the Damaja,
Todd Terry,
Captain Beefheart & His Magic Band,
Marvin Gaye,
Technova,
Orchestral Manoeuvres in the Dark,
Curtis Mayfield,
Siouxsie and the Banshees,
Isaac Hayes,
John Lydon,
Flipper,
The Leaves,
Aural Exciters,
The Dead C,
Roy Ayers,
Negative Approach,
Vaughan Mason & Crew,
Slick Rick,
Soft Machine,
Gian Franco Pienzio,
Desert Stars,
8 Eyed Spy,
Boz Scaggs,
U.S. Maple,
Barbara Tucker,
D'Angelo,
Ken Boothe,
The Five Americans,
Leonard Cohen,
Mr. Review,
Sugar Minott,
Crime,
Matthew Bourne,
Jeff Lynne,
Josef K,
Groovy Waters,
Boogie Down Productions,
Black Moon,
Bob Dylan,
Newcleus,
Zapp,
Wally Richardson,
A Certain Ratio,
Gong,
Lower 48,
Drexciya,
The Gladiators,
Joey Negro,
Sexual Harrassment,
ABC,
Peter & Gordon,
Tears for Fears,
Sister Nancy,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.