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 Albania and from Seoul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Pylon to the grunge 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 Bobby Womack. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Cecil Taylor 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
the Slits,
Ash Ra Tempel,
Harry Pussy,
Dorothy Ashby,
The Slackers,
Wire,
Depeche Mode,
Wasted Youth,
Desert Stars,
Brass Construction,
Kings Of Tomorrow,
DeepChord presents Echospace,
The Doobie Brothers,
Ludus,
Main Source,
The Moody Blues,
Anthony Braxton,
Second Layer,
Pet Shop Boys,
Siouxsie and the Banshees,
Pussy Galore,
Newcleus,
The Dave Clark Five,
Bill Wells,
Lakeside,
Talk Talk,
Bluetip,
Black Bananas,
The Star Department,
The Busters,
Erasure,
Bauhaus,
La Düsseldorf,
Letta Mbulu,
Cybotron,
LL Cool J,
Avey Tare & Kría Brekkan,
Gerry Rafferty,
Tears for Fears,
Soulsonic Force,
Minutemen,
Nils Olav,
Beasts of Bourbon,
Bobbi Humphrey,
Jeff Lynne,
Easy Going,
The Cowsills,
Juan Atkins,
Quadrant,
Al Stewart,
Suburban Knight,
The Fall,
Hasil Adkins,
The Happenings,
The Durutti Column,
The Fire Engines,
Inner City,
It's A Beautiful Day,
Iggy Pop,
Stetsasonic,
Q65, Q65, Q65, Q65.
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.