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 Libya and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 David Bowie 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 David Axelrod to the techno 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 Deakin. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Black Pus,
Colin Newman,
Young Marble Giants,
Anakelly,
The Count Five,
Rufus Thomas,
John Cale,
Neu!,
Art Ensemble Of Chicago,
Dennis Brown,
The Shadows of Knight,
Whodini,
Pantytec,
James Chance & The Contortions,
Tubeway Army,
Bill Near,
Chris Corsano,
Procol Harum,
World's Most,
Lizzy Mercier Descloux,
Grauzone,
Tres Demented,
Pagans,
The Birthday Party,
A Flock of Seagulls,
The Techniques,
the Slits,
E-Dancer,
The Names,
Warsaw,
Bootsy's Rubber Band,
Gil Scott Heron,
Roy Ayers Ubiquity,
Michelle Simonal,
the Normal,
Joensuu 1685,
The Flesh Eaters,
Liaisons Dangereuses,
Kaleidoscope,
Roy Ayers,
Ponytail,
Orchestral Manoeuvres in the Dark,
Jeru the Damaja,
Bush Tetras,
Fluxion,
Crime,
Theoretical Girls,
The Sound,
The Litter,
Television Personalities,
Heaven 17,
F. McDonald,
Jacques Brel,
The Pretty Things,
Marcia Griffiths,
Marc Romboy vs. Booka Shade,
Lungfish,
The Chocolate Watch Band,
Ice-T,
Moby Grape,
The Modern Lovers,
Reagan Youth,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.