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 Monaco and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Jacques Brel to the funk 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 Don Cherry. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Masters at Work,
Yusef Lateef,
Super Lover Cee & Casanova Rud,
The Gap Band,
Roxy Music,
Nirvana,
Black Bananas,
Ultimate Spinach,
Brick,
Magazine,
The Pop Group,
Cymande,
Larry & the Blue Notes,
Pantaleimon,
Soul Sonic Force,
Radiohead,
Faraquet,
The Detroit Cobras,
Scan 7,
The New Christs,
Kevin Saunderson,
CMW,
Roy Ayers Ubiquity,
Hashim,
Kenny Larkin,
Connie Case,
Brothers Johnson,
Brand Nubian,
UT,
Freddie Wadling,
Gong,
Black Moon,
Zapp,
Negative Approach,
Soft Cell,
Arcadia,
Index,
The Seeds,
The Royal Family And The Poor,
The Music Machine,
K-Klass,
Richard Hell and the Voidoids,
Toni Rubio,
Erykah Badu,
Nico,
Glambeats Corp.,
Pharaoh Sanders and the Fire Engines,
The Real Kids,
Joyce Sims,
Steve Hackett,
Flash Fearless,
Deakin,
The Invisible,
U.S. Maple,
Fat Boys,
Marmalade,
Lungfish, Lungfish, Lungfish, Lungfish.
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.