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 Togo and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Accra and Manchester.
I'm losing my edge to the art-school Mumbai 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 marimba 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 Kenny Larkin to the jazz kids.
I played it at CBGB's.
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 Bill Near. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Shuggie Otis,
Organ,
Visage,
Country Joe & The Fish,
A Certain Ratio,
Scratch Acid,
Theoretical Girls,
kango's stein massive,
Manfred Mann's Earth Band,
The Doors,
Funkadelic,
Depeche Mode,
Bang On A Can,
Morten Harket,
Rhythim Is Rhythim,
Mark Hollis,
Brand Nubian,
The Martian,
James White and The Blacks,
X-101,
Outsiders,
Kerrie Biddell,
The Monks,
Cal Tjader,
Ultimate Spinach,
Rapeman,
Masters at Work,
Pole,
Sam Rivers,
Louis and Bebe Barron,
Icehouse,
Gichy Dan,
The Victims,
Camouflage,
Barrington Levy,
Thinking Fellers Union Local 282,
Negative Approach,
Symarip,
Hasil Adkins,
Faust,
Little Man,
Jeff Mills,
Animal Collective,
Fear,
Gil Scott-Heron and Jamie xx,
Swans,
Jerry Gold Smith,
John Coltrane,
Mission of Burma,
Alice Coltrane,
The Gladiators,
Bob Dylan,
Lou Christie,
Eric Dolphy,
The Dave Clark Five,
the Bar-Kays,
Sonic Youth,
Girls At Our Best!,
The Litter,
Y Pants,
Absolute Body Control,
Glambeats Corp.,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.