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 Turkmenistan and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Jakarta and Bremen.
I'm losing my edge to the art-school Milan 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 Colin Newman to the dance kids.
I played it at the Astoria.
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 Sonics. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Andrew Hill,
Minny Pops,
Urselle,
Moss Icon,
Lalann,
Spoonie Gee,
Popol Vuh,
Ronnie Foster,
FM Einheit,
The Victims,
Eric Copeland,
Kings Of Tomorrow,
Lakeside,
Albert Ayler,
Brothers Johnson,
Peter and Kerry,
Gabor Szabo,
Talk Talk,
Fad Gadget,
Andrew Ashong & Theo Parrish,
Soft Cell,
Sonic Youth,
Michelle Simonal,
Half Japanese,
The Star Department,
Simply Red,
Röyhkä ja Rättö ja Lehtisalo,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Colin Newman,
Black Flag,
Ornette Coleman,
Underground Resistance,
Ralphi Rosario,
the Bar-Kays,
The Standells,
Depeche Mode,
Aswad,
David Axelrod,
The Sound,
The Sisters of Mercy,
Warren Ellis,
Livin' Joy,
Lou Reed & Metallica,
Rufus Thomas,
Liaisons Dangereuses,
The Evens,
Johnny Clarke,
Barbara Tucker,
Soul II Soul,
Faraquet,
Sonny Sharrock,
B.T. Express,
Infiniti,
Angels of Light & Akron/Family,
Pulsallama,
Visage,
Ten City,
OOIOO,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.