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 Jordan and from Taipei.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Lille 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 1971 at the first Big Star practice in a loft in Memphis.
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 Gabor Szabo to the rap kids.
I played it at the Hacienda.
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 John Lydon. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Rites of Spring 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin 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 guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Rapeman,
Nico,
Wire,
The Dead C,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Jandek,
Cal Tjader,
Rhythim Is Rhythim,
Barry Ungar,
Larry & the Blue Notes,
Marine Girls,
The Neon Judgement,
Gil Scott-Heron and Jamie xx,
Porter Ricks,
F. McDonald,
Lafayette Afro Rock Band,
Radio Birdman,
Mad Mike,
The Buckinghams,
Ten City,
Agent Orange,
Minnie Riperton,
Don Cherry,
Das Ding,
Jerry's Kids,
The Stooges,
Drexciya,
Little Man,
48th St. Collective,
Art Ensemble Of Chicago,
Amon Düül II,
Sonic Youth,
Boogie Down Productions,
The Monochrome Set,
Susan Cadogan,
Siglo XX,
A Flock of Seagulls,
Slave,
Thinking Fellers Union Local 282,
Rufus Thomas,
Steve Hackett,
K-Klass,
The Toasters,
Grey Daturas,
Joyce Sims,
The Doobie Brothers,
Avey Tare's Slasher Flicks,
Liaisons Dangereuses,
Franke,
Strawberry Alarm Clock,
Deakin,
Lee Hazlewood,
The Slackers,
The Move,
Banda Bassotti,
Marmalade,
Ohio Players,
Lindisfarne,
Los Fastidios,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.