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 Guinea-Bissau 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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Dorothy Ashby to the electroclash kids.
I played it at the Roxy.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Clear Light 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 organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
The Invisible,
Manfred Mann's Earth Band,
Mark Hollis,
Delon & Dalcan,
Big Daddy Kane,
Sugar Minott,
the Soft Cell,
John Coltrane,
Lower 48,
The Index,
Ajijia Myrayebe,
Avey Tare & Kría Brekkan,
Harpers Bizarre,
Main Source,
The Music Machine,
The Dead C,
Vaughan Mason & Crew,
Bob Dylan,
PIL,
Drexciya,
Tomorrow,
Bobbi Humphrey,
Harmonia,
Judy Mowatt,
Kevin Saunderson,
The Walker Brothers,
Youth Brigade,
Alton Ellis,
Dead Boys,
Lebanon Hanover,
The Trojans,
Altered Images,
Radiopuhelimet,
The United States of America,
R.M.O.,
The Sonics,
Carl Craig,
Jerry's Kids,
Electric Prunes,
Adolescents,
The Pretty Things,
Bill Near,
Grauzone,
Theoretical Girls,
Blancmange,
Amon Düül,
Jawbox,
Dark Day,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tubeway Army,
London Community Gospel Choir,
Sun Ra Arkestra,
The Blues Magoos,
Derrick May,
Chris Corsano,
Röyhkä ja Rättö ja Lehtisalo,
Con Funk Shun,
Sarah Menescal,
Nas,
Severed Heads,
The Grass Roots,
The Techniques, The Techniques, The Techniques, The Techniques.
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.