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 Jordan and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Albert Ayler to the jazz kids.
I played it at the Crocodile.
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 Intrusion. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Fad Gadget,
Negative Approach,
Don Cherry,
X-102,
The Seeds,
Avey Tare,
Soul Sonic Force,
Curtis Mayfield,
The Index,
Richard Hell and the Voidoids,
Bobby Sherman,
Kings Of Tomorrow,
Basic Channel,
Quantec,
The Associates,
Eddi Front,
This Heat,
Urselle,
Young Marble Giants,
Altered Images,
Massinfluence,
JFA,
Blossom Toes,
D'Angelo,
the Association,
Ossler,
Lou Reed & John Cale,
Subhumans,
The Sound,
The Mighty Diamonds,
The Jesus and Mary Chain,
The Flesh Eaters,
Electric Prunes,
Pierre Henry,
Country Teasers,
Maleditus Sound,
The Martian,
Bizarre Inc.,
Howard Jones,
Sound Behaviour,
KRS-One,
Arcadia,
Susan Cadogan,
Blancmange,
Andrew Ashong & Theo Parrish,
Spandau Ballet,
Cymande,
Dawn Penn,
Gary Puckett & The Union Gap,
Colin Newman,
Notorious Big And Bone Thugs,
Marcia Griffiths,
Rakim,
Gang Green,
Jeff Mills,
The Neon Judgement,
Marc Romboy vs. Booka Shade,
Delta 5,
T. Rex,
The Beau Brummels,
Ponytail, Ponytail, Ponytail, Ponytail.
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.