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 Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1975.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Andrew Ashong & Theo Parrish to the jazz kids.
I played it at the Troubador.
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 Sparks. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Swell Maps,
48th St. Collective,
A Flock of Seagulls,
Joy Division,
Pantaleimon,
John Coltrane,
Captain Beefheart & His Magic Band,
Vainqueur,
The Golliwogs,
Hoover,
Pylon,
Monolake,
The Dave Clark Five,
Gerry Rafferty,
Aaron Thompson,
Laurel Aitken,
Cabaret Voltaire,
Talk Talk,
Notorious BIG live in Amsterdam,
Junior Murvin,
Wasted Youth,
Flipper,
Bob Dylan,
Negative Approach,
The Move,
Albert Ayler,
Das Ding,
Don Cherry,
Deepchord,
Crime,
Model 500,
Mad Mike,
Delta 5,
World's Most,
The United States of America,
The Moleskins,
Wolf Eyes,
The Fuzztones,
Selector Dub Narcotic,
Faust,
Danielle Patucci,
10cc,
Barclay James Harvest,
Brothers Johnson,
Eric B and Rakim,
Howard Jones,
Lonnie Liston Smith,
Rekid,
Neil Young & Crazy Horse,
Alison Limerick,
Thee Headcoats,
Mission of Burma,
The Men They Couldn't Hang,
Joensuu 1685,
Sun Ra Arkestra,
Kango’s Stein Massive,
R.M.O.,
Gil Scott Heron,
Alton Ellis,
Minor Threat,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.