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 Sierra Leone and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Lille 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 Michael McDonald 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 Idris Muhammad to the disco 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 Deadbeat. All the underground hits.
All Aural Exciters 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 techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Jerry Gold Smith,
John Cale,
Lucky Dragons,
Royal Trux,
Yaz,
Jesper Dahlback,
Pussy Galore,
Traffic Nightmare,
Desert Stars,
The Selecter,
AZ,
Echospace,
Rakim,
The Names,
The Jesus and Mary Chain,
Visage,
kango's stein massive,
Pete Rock & C.L. Smooth,
Warsaw,
Pantaleimon,
Bang on a Can All-Stars,
Lou Reed,
The Music Machine,
Bobby Hutcherson,
Half Japanese,
Juan Atkins,
The Seeds,
Dennis Brown,
Underground Resistance,
Louis and Bebe Barron,
Gil Scott Heron,
Joyce Sims,
The Royal Family And The Poor,
The Angels of Light,
Public Image Ltd.,
The American Breed,
Country Teasers,
Erasure,
Roy Ayers,
Nils Olav,
Steve Hackett,
Zero Boys,
Heavy D & The Boyz,
Subhumans,
The Fuzztones,
Darondo,
Eddi Front,
Matthew Halsall,
Trumans Water,
Spandau Ballet,
Jawbox,
Lizzy Mercier Descloux,
Negative Approach,
Lou Reed & Metallica,
Ken Boothe,
Drexciya,
John Holt,
Eve St. Jones,
Hoover,
Aswad,
Crime, Crime, Crime, Crime.
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.