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 Nepal and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Jakarta 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 synthesizer 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 The Fugs to the punk kids.
I played it at the Crocodile.
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 The Doobie Brothers. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Khruangbin,
The Men They Couldn't Hang,
Interpol,
Cal Tjader,
The Jesus and Mary Chain,
Bobbi Humphrey,
John Holt,
Gastr Del Sol,
Henry Cow,
Metal Thangz,
Matthew Bourne,
Motorama,
Bobby Sherman,
Silicon Teens,
The Moleskins,
D'Angelo,
The Motions,
Negative Approach,
Frankie Knuckles,
Arthur Verocai,
The Doors,
The Fire Engines,
Hot Snakes,
Stereo Dub,
Fear,
Cecil Taylor,
Brass Construction,
Desert Stars,
Marvin Gaye,
Pharoah Sanders,
The Real Kids,
Agent Orange,
Carl Craig,
Grandmaster Flash and the Furious Five,
Isaac Hayes,
Terrestrial Tones,
Scan 7,
Royal Trux,
Donald Byrd,
London Community Gospel Choir,
Soul II Soul,
DNA,
Shoche,
Howard Jones,
Harry Pussy,
Shuggie Otis,
Cameo,
Wasted Youth,
Yusef Lateef,
The Standells,
The United States of America,
The Evens,
Buzzcocks,
Oneida,
Oblivians,
Gil Scott Heron,
Ken Boothe,
Fad Gadget,
Warren Ellis,
The Martian,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.