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 Honduras and from Accra.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Shanghai 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 Holger Czukay 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 Reuben Wilson to the funk kids.
I played it at Cafe Wha.
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 Spandau Ballet. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every AZ 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Doors,
FM Einheit,
Man Parrish,
Terrestrial Tones,
Scratch Acid,
Crispian St. Peters,
Ornette Coleman,
Eric Copeland,
Aloha Tigers,
Steve Hackett,
JFA,
Sound Behaviour,
The Blues Magoos,
Stereo Dub,
Main Source,
The Fire Engines,
Henry Cow,
DJ Style,
Ash Ra Tempel,
The New Christs,
The Vogues,
Gang Starr,
Deadbeat,
Joyce Sims,
Magazine,
Eden Ahbez,
Yellowson,
Grauzone,
Cluster,
A Certain Ratio,
Marine Girls,
Pantaleimon,
Masters at Work,
Ultimate Spinach,
Sarah Menescal,
PIL,
Godley & Creme,
The Knickerbockers,
London Community Gospel Choir,
Charles Mingus,
Ultra Naté,
Nation of Ulysses,
Moss Icon,
Angels of Light & Akron/Family,
Throbbing Gristle,
Skriet,
Desert Stars,
Roxy Music,
James Chance & The Contortions,
Shoche,
Sad Lovers and Giants,
the Human League,
F. McDonald,
Lindisfarne,
The Electric Prunes,
UT,
The Residents,
Marvin Gaye,
Saccharine Trust,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.