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 India and from Beijing.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Depeche Mode to the jazz kids.
I played it at the Troubador.
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 Aaron Thompson. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
U.S. Maple,
The Selecter,
Negative Approach,
Skaos,
The Saints,
Scrapy,
Malaria!,
Stetsasonic,
Lakeside,
Gerry Rafferty,
Darondo,
Reuben Wilson,
K-Klass,
Quadrant,
The Fuzztones,
Grey Daturas,
Minor Threat,
The Slits,
The Blues Magoos,
Cybotron,
PIL,
Mark Hollis,
The Mojo Men,
The Names,
Johnny Osbourne,
Tropical Tobacco,
Rapeman,
Animal Collective,
Colin Newman,
the Slits,
Joe Finger,
Hot Snakes,
Mo-Dettes,
The United States of America,
Rakim,
Albert Ayler,
Gary Puckett & The Union Gap,
Maleditus Sound,
Tubeway Army,
Deutsch Amerikanische Freundschaft,
Japan,
The Doors,
Crooked Eye,
Kenny Larkin,
Shuggie Otis,
Pantaleimon,
Ituana,
Frankie Knuckles,
Al Stewart,
The Cure,
Main Source,
The Mummies,
Ossler,
Von Mondo,
Amon Düül,
These Immortal Souls,
Connie Case,
Althea and Donna,
Neil Young, Neil Young, Neil Young, Neil Young.
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.