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 Lithuania and from New York.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Index to the techno kids.
I played it at the Troubador.
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 Harmonia. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
UT,
Selector Dub Narcotic,
Jeru the Damaja,
Avey Tare,
Neu!,
Liaisons Dangereuses,
Kenny Larkin,
Grauzone,
Tommy Roe,
The Young Rascals,
The Selecter,
Tomorrow,
The Trojans,
Richard Hell and the Voidoids,
Groovy Waters,
Ajijia Myrayebe,
Ultra Naté,
U.S. Maple,
Darondo,
Goldenarms,
Marvin Gaye,
Art Ensemble Of Chicago,
Althea and Donna,
Marc Romboy vs. Booka Shade,
Jeff Mills,
Red Lorry Yellow Lorry,
Drexciya,
T.S.O.L.,
Subhumans,
Fear,
Pagans,
Harmonia,
Grandmaster Flash,
Blancmange,
Johnny Osbourne,
These Immortal Souls,
Kerrie Biddell,
Ralphi Rosario,
FM Einheit,
Eddi Front,
Soft Cell,
8 Eyed Spy,
Stetsasonic,
The Cure,
Gil Scott-Heron and Jamie xx,
John Coltrane,
The United States of America,
Babytalk,
Kool Moe Dee,
Monks,
Procol Harum,
Radio Birdman,
Kurtis Blow,
Mandrill,
Jimmy McGriff,
Little Man,
Vladislav Delay,
De La Soul & Jungle Brothers,
Gastr Del Sol,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.