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 Andorra and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Busters to the techno 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 Nik Kershaw. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Marvin Gaye,
Cluster,
The Selecter,
Eve St. Jones,
Urselle,
Monks,
Roy Ayers Ubiquity,
Intrusion,
Bobbi Humphrey,
Theoretical Girls,
The Slackers,
Sonny Sharrock,
The Alarm Clocks,
Graham Central Station,
Justin Hinds & The Dominoes,
Wasted Youth,
Saccharine Trust,
Jeru the Damaja,
Joy Division,
48th St. Collective,
David Axelrod,
Roxette,
The Fuzztones,
Cymande,
Eden Ahbez,
The Men They Couldn't Hang,
Cheater Slicks,
The Birthday Party,
Popol Vuh,
Bang on a Can All-Stars,
Heaven 17,
Dorothy Ashby,
Ornette Coleman,
Nils Olav,
Crooked Eye,
Kerrie Biddell,
The Searchers,
Kerri Chandler,
Mars,
Joe Smooth,
Hoover,
Janne Schatter,
The Moody Blues,
Marc Romboy vs. Booka Shade,
L. Decosne,
The Vogues,
Mark Hollis,
Avey Tare's Slasher Flicks,
Lou Reed,
Matthew Halsall,
Flash Fearless,
Lyres,
The Jesus and Mary Chain,
Erykah Badu,
The Pop Group,
Country Joe & The Fish,
Scrapy,
Robert Görl,
Panda Bear,
Vainqueur,
Manfred Mann's Earth Band,
Notorious Big And Bone Thugs,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.