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 Cuba and from Bologna.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Edmonton 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 The Standells 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 The Vogues. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Hardrive,
the Association,
The Pretty Things,
Quando Quango,
Bronski Beat,
Traffic Nightmare,
Chris Corsano,
Darondo,
Man Eating Sloth,
The Seeds,
Dr. Dre and Snoop Doggy Dog,
The Wake,
Section 25,
Idris Muhammad,
Slave,
Patti Smith,
Tim Buckley,
CMW,
The Toasters,
Quantec,
New Age Steppers,
Soulsonic Force,
Zero Boys,
The Men They Couldn't Hang,
Charles Mingus,
Country Teasers,
Rhythim Is Rhythim,
Rapeman,
Bizarre Inc.,
Dead Boys,
Young Marble Giants,
Laurel Aitken,
Q and Not U,
Hashim,
Mary Jane Girls,
Faust,
Pharaoh Sanders and the Fire Engines,
Marvin Gaye,
H. Thieme,
Sun City Girls,
Vladislav Delay,
The Cramps,
The Remains,
A Certain Ratio,
Sunsets and Hearts,
Bobbi Humphrey,
Kaleidoscope,
Public Enemy,
Black Flag,
Cymande,
Peter and Kerry,
James Chance & The Contortions,
the Bar-Kays,
Minny Pops,
The Music Machine,
Sound Behaviour,
Pierre Henry,
La Düsseldorf,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.