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 the UAE and from Cairo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the jazz 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 Standells. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
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 Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Pulsallama,
The Seeds,
Pierre Henry,
Ronan,
DJ Style,
The West Coast Pop Art Experimental Band,
Icehouse,
Matthew Halsall,
Bang On A Can,
Mr. Review,
Essential Logic,
Banda Bassotti,
Black Bananas,
Jandek,
The Offenders,
Warren Ellis,
Be Bop Deluxe,
Marmalade,
Andrew Ashong & Theo Parrish,
The Black Dice,
Organ,
Lou Reed & Metallica,
ABBA,
Jerry's Kids,
Eric Dolphy,
Electric Light Orchestra,
Masters at Work,
Hot Snakes,
Robert Görl,
Das Ding,
Country Teasers,
Johnny Clarke,
Urselle,
Dark Day,
Bronski Beat,
Sam Rivers,
Radiohead,
Roxy Music,
AZ,
The Gun Club,
Pussy Galore,
Soft Machine,
Throbbing Gristle,
Lalann,
Pete Rock & C.L. Smooth,
Wire,
Kings Of Tomorrow,
Idris Muhammad,
Wally Richardson,
Blossom Toes,
Fat Boys,
The Five Americans,
The Men They Couldn't Hang,
Charles Mingus,
Lee Hazlewood,
ABC,
Quando Quango,
Mission of Burma,
Scrapy,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.