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 Cuba and from Tehran.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Seoul 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 guitar 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 Quadrant to the funk 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ 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 Monks,
Sun Ra Arkestra,
Sun City Girls,
E-Dancer,
The Move,
Barrington Levy,
Quando Quango,
KRS-One,
Little Man,
Quantec,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chrome,
Deadbeat,
Gang Starr,
James Chance & The Contortions,
Ralphi Rosario,
Los Fastidios,
Isaac Hayes,
Fugazi,
Echo & the Bunnymen,
Stockholm Monsters,
Curtis Mayfield,
Kerrie Biddell,
Peter & Gordon,
Bobby Hutcherson,
The Music Machine,
Minor Threat,
FM Einheit,
Lizzy Mercier Descloux,
Barclay James Harvest,
Man Eating Sloth,
Junior Murvin,
Lyres,
Shoche,
the Fania All-Stars,
Andrew Ashong & Theo Parrish,
Godley & Creme,
Notorious Big And Bone Thugs,
Rowland S Howard / Lydia Lunch,
June Days,
The Count Five,
Oneida,
Magazine,
Ornette Coleman,
Rites of Spring,
Model 500,
Jeru the Damaja,
Cybotron,
A Certain Ratio,
Alice Coltrane,
Darondo,
The Buckinghams,
Drive Like Jehu,
Tubeway Army,
AZ,
Delon & Dalcan,
Altered Images,
Accadde A,
Goldenarms,
A Flock of Seagulls,
The Cramps,
Cheater Slicks,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.