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 Kiribati and from Jakarta.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Main Source to the rock 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 Essential Logic. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Japan,
Depeche Mode,
Boogie Down Productions,
The Associates,
Soul II Soul,
Swans,
Reuben Wilson,
Maurizio,
The Grass Roots,
Half Japanese,
Skarface,
Black Sheep,
David Axelrod,
Bauhaus,
Bobby Hutcherson,
The Mojo Men,
Morten Harket,
Lyres,
Grandmaster Flash and the Furious Five,
DJ Sneak,
Deadbeat,
Sixth Finger,
Judy Mowatt,
London Community Gospel Choir,
The Angels of Light,
Glambeats Corp.,
Sun Ra Arkestra,
Cybotron,
Warsaw,
Sex Pistols,
Sight & Sound,
Suburban Knight,
Rekid,
Avey Tare & Kría Brekkan,
Brick,
Procol Harum,
Gil Scott-Heron and Jamie xx,
Robert Görl,
Gang Gang Dance,
Reagan Youth,
Lizzy Mercier Descloux,
Lafayette Afro Rock Band,
Section 25,
Minutemen,
Larry & the Blue Notes,
Unwound,
Beasts of Bourbon,
Bootsy Collins,
Simply Red,
Thompson Twins,
New York Dolls,
Fela Kuti,
John Holt,
Rufus Thomas,
a-ha,
Barry Ungar,
The Walker Brothers,
Minnie Riperton,
Carl Craig,
Ludus, Ludus, Ludus, Ludus.
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.