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 Chad and from Jakarta.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Accra and Tokyo.
I'm losing my edge to the art-school Seoul 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer 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 Oppenheimer Analysis to the techno kids.
I played it at the Hacienda.
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 Half Japanese. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Sun Ra,
The Beau Brummels,
Nas,
The Busters,
Graham Central Station,
Kango’s Stein Massive,
MDC,
Sight & Sound,
Reuben Wilson,
Colin Newman,
The Saints,
Eli Mardock,
The Happenings,
Big Daddy Kane,
David McCallum,
The Knickerbockers,
OOIOO,
The Music Machine,
Gang of Four,
Skriet,
Little Man,
The Cramps,
Marine Girls,
The Toasters,
Parry Music,
The Motions,
Quadrant,
Essential Logic,
Depeche Mode,
Royal Trux,
Qualms,
Stetsasonic,
The Victims,
The Misunderstood,
Eyeless In Gaza,
Deutsch Amerikanische Freundschaft,
Jacques Brel,
Arab on Radar,
Bluetip,
The Evens,
John Cale,
Massinfluence,
Schoolly D,
Donny Hathaway,
Orchestral Manoeuvres in the Dark,
The Fuzztones,
Marc Almond,
Funky Four + One,
Black Sheep,
The Moleskins,
The Mighty Diamonds,
The Move,
Lucky Dragons,
Roy Ayers,
The Doobie Brothers,
Cabaret Voltaire,
Johnny Clarke,
Lalann,
Ultravox,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.