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 Japan and from New York.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Spokane 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 güiro 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 Soft Cell to the electroclash kids.
I played it at the Roxy.
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 Nas. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
a-ha,
Arthur Verocai,
R.M.O.,
CMW,
Pharaoh Sanders and the Fire Engines,
Yellowson,
Metal Thangz,
Kerrie Biddell,
Joey Negro,
Gang Green,
Jesper Dahlback,
Aswad,
Kurtis Blow,
The Angels of Light,
Juan Atkins,
Patti Smith,
the Swans,
Lafayette Afro Rock Band,
Al Stewart,
Warren Ellis,
Thinking Fellers Union Local 282,
The Velvet Underground,
Los Fastidios,
The Motions,
The Red Krayola,
Stockholm Monsters,
The Standells,
Schoolly D,
Judy Mowatt,
Amazonics,
the Bar-Kays,
In Retrospect,
Toni Rubio,
Marcia Griffiths,
Jandek,
Flamin' Groovies,
The Sonics,
Young Marble Giants,
David McCallum,
Kayak,
The Index,
One Last Wish,
The Doors,
Cecil Taylor,
Parry Music,
Dark Day,
The Black Dice,
Colin Newman,
Pylon,
The Barracudas,
The Moleskins,
Rapeman,
Fort Wilson Riot,
The Sound,
Radio Birdman,
Cymande,
Eyeless In Gaza,
Lalann,
Surgeon,
Gerry Rafferty,
The Peanut Butter Conspiracy,
The Five Americans,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.