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 Serbia and from Tehran.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Archie Shepp to the rap kids.
I played it at the Spitz.
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 Eric Copeland. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal punk 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 a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Selector Dub Narcotic,
Pharaoh Sanders and the Fire Engines,
The Techniques,
Deakin,
Barclay James Harvest,
Jerry's Kids,
Matthew Halsall,
the Bar-Kays,
Nick Cave & The Bad Seeds,
Electric Light Orchestra,
Sparks,
Niagra,
EPMD,
Marine Girls,
Barrington Levy,
Altered Images,
Marcia Griffiths,
Alison Limerick,
Supertramp,
The Victims,
Easy Going,
Amon Düül,
H. Thieme,
Newcleus,
Dual Sessions,
The Fugs,
Crispian St. Peters,
Ultra Naté,
The Durutti Column,
Derrick May,
The Birthday Party,
Matthew Bourne,
Blossom Toes,
The Young Rascals,
Jerry Gold Smith,
Red Lorry Yellow Lorry,
Hashim,
Reagan Youth,
Eli Mardock,
Cheater Slicks,
Anthony Braxton,
John Lydon,
The Count Five,
Ossler,
Sexual Harrassment,
Lebanon Hanover,
Ash Ra Tempel,
The Names,
Patti Smith,
Simply Red,
Bad Manners,
Oblivians,
Lightning Bolt,
Minny Pops,
Kool Moe Dee,
Idris Muhammad,
Rites of Spring,
Sonny Sharrock,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.