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 Vanuatu and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Madrid and Toronto.
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 oboe sounds with much patience.
I was there when Holger Czukay 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 Essential Logic to the jazz kids.
I played it at the 40 Watt.
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 D'Angelo. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Colin Newman,
Aural Exciters,
Arcadia,
The Durutti Column,
Public Enemy,
June of 44,
The Men They Couldn't Hang,
Dorothy Ashby,
Slick Rick,
Lonnie Liston Smith,
Mark Hollis,
Crispian St. Peters,
Fear,
Kurtis Blow,
The Fuzztones,
Traffic Nightmare,
The Smiths,
Clear Light,
Bobby Sherman,
Delon & Dalcan,
The Mighty Diamonds,
Livin' Joy,
James Chance & The Contortions,
Quando Quango,
John Holt,
Tom Boy,
Jeff Mills,
X-102,
Soft Cell,
Con Funk Shun,
The Blues Magoos,
Masters at Work,
The Victims,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nas,
Aswad,
Scrapy,
Tres Demented,
Circle Jerks,
The Names,
Mandrill,
Gang Starr,
Pole,
The Count Five,
kango's stein massive,
Lebanon Hanover,
the Human League,
Shoche,
Basic Channel,
Nation of Ulysses,
The Monochrome Set,
The Evens,
Max Romeo,
Matthew Bourne,
Thinking Fellers Union Local 282,
Marc Almond,
Hashim,
Animal Collective,
The Fortunes,
Letta Mbulu,
Yusef Lateef,
The West Coast Pop Art Experimental Band,
Pylon, Pylon, Pylon, Pylon.
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.