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 Hungary and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Halifax.
I'm losing my edge to the art-school Manila 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 808 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 The Vogues to the punk 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 Stereo Dub. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
The Residents,
The Golliwogs,
Ornette Coleman,
Gian Franco Pienzio,
The Fall,
The Fugs,
Sun Ra Arkestra,
Barrington Levy,
Avey Tare,
Negative Approach,
EPMD,
Drexciya,
the Association,
Donald Byrd,
Steve Hackett,
Freddie Wadling,
Siouxsie and the Banshees,
Eden Ahbez,
Vainqueur,
The Five Americans,
The Martian,
Accadde A,
Orchestral Manoeuvres in the Dark,
Justin Hinds & The Dominoes,
UT,
Skarface,
Quantec,
48th St. Collective,
The Seeds,
the Normal,
Brick,
Marcia Griffiths,
Peter & Gordon,
Curtis Mayfield,
The Neon Judgement,
L. Decosne,
Little Man,
Tres Demented,
Jeff Mills,
Ronnie Foster,
Strawberry Alarm Clock,
Lower 48,
K-Klass,
The Moody Blues,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Moss Icon,
Aloha Tigers,
Guru Guru,
Byron Stingily,
Shuggie Otis,
Radiohead,
Sexual Harrassment,
Jawbox,
Masters at Work,
Skriet,
David Bowie,
Echospace,
Funkadelic,
The Mojo Men,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.