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 Mauritania and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Lonnie Liston Smith to the jazz 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 Cecil Taylor. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Thee Headcoats,
Suicide,
The Monks,
Subhumans,
The Fall,
OOIOO,
Robert Wyatt,
Gong,
Lizzy Mercier Descloux,
MDC,
The Blues Magoos,
The Barracudas,
The Pretty Things,
Pagans,
The Flesh Eaters,
Jesper Dahlbäck,
Duran Duran,
Symarip,
The Alarm Clocks,
Pulsallama,
Outsiders,
Hashim,
Tomorrow,
The Doors,
Johnny Osbourne,
Crime,
Guru Guru,
Shuggie Otis,
Henry Cow,
Tubeway Army,
Ludus,
Susan Cadogan,
Scott Walker,
the Normal,
Chrome,
Lightning Bolt,
Nation of Ulysses,
Dawn Penn,
Hot Snakes,
The Blackbyrds,
The Tremeloes,
The Mojo Men,
KRS-One,
Dr. Dre and Snoop Doggy Dog,
The Sound,
The Chocolate Watch Band,
The Shadows of Knight,
Section 25,
Cheater Slicks,
Wire,
Ituana,
Barclay James Harvest,
James White and The Blacks,
Chris Corsano,
Von Mondo,
The Peanut Butter Conspiracy,
Barbara Tucker,
The Busters,
Nirvana,
Ken Boothe,
Fad Gadget,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.