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 Montenegro and from Copenhagen.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes 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 Charles Mingus to the electroclash kids.
I played it at the Spitz.
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 Liaisons Dangereuses. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Lungfish 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 '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Harmonia,
Lakeside,
Roy Ayers,
Jimmy McGriff,
John Foxx,
Reuben Wilson,
Pierre Henry,
T.S.O.L.,
The Grass Roots,
Don Cherry,
Spandau Ballet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Echospace,
Marc Romboy vs. Booka Shade,
Grandmaster Flash,
Prince Buster,
Chrome,
The Seeds,
The Flesh Eaters,
Grandmaster Flash and the Furious Five,
Scott Walker + Sunn O))),
The Monks,
Ken Boothe,
Robert Hood,
The Walker Brothers,
The Fortunes,
Roy Ayers Ubiquity,
Television,
Red Lorry Yellow Lorry,
Lizzy Mercier Descloux,
The Slits,
Infiniti,
Swans,
Tropical Tobacco,
Subhumans,
Model 500,
The Alarm Clocks,
Bootsy's Rubber Band,
Gong,
The Names,
Eve St. Jones,
Boogie Down Productions,
The Cowsills,
Sex Pistols,
The J.B.'s,
Rekid,
Procol Harum,
The Gap Band,
the Sonics,
Mary Jane Girls,
Ralphi Rosario,
Dawn Penn,
The Red Krayola,
Scion,
The Motions,
The Toasters,
Albert Ayler,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.