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 and from Sao Paulo.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Accra 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Neon Judgement to the techno kids.
I played it at the Astoria.
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 Ornette Coleman. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal electroclash 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 a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago 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?
London Community Gospel Choir,
Nick Fraelich,
Michelle Simonal,
The Litter,
Bad Manners,
KRS-One,
Franke,
Notorious Big And Bone Thugs,
U.S. Maple,
The Invisible,
Alice Coltrane,
Dual Sessions,
Anthony Braxton,
Eli Mardock,
Arab on Radar,
Crash Course in Science,
The Kinks,
The Blackbyrds,
Sly & The Family Stone,
Scion,
Metal Thangz,
Susan Cadogan,
Angels of Light & Akron/Family,
A Flock of Seagulls,
Ralphi Rosario,
Max Romeo,
The Black Dice,
Rhythm & Sound,
Pet Shop Boys,
the Slits,
Terrestrial Tones,
FM Einheit,
Larry & the Blue Notes,
Ultravox,
Sugar Minott,
cv313,
Public Enemy,
Lalo Schifrin,
Joyce Sims,
Jeru the Damaja,
Wasted Youth,
Lyres,
Kaleidoscope,
Beasts of Bourbon,
The Electric Prunes,
Peter & Gordon,
Rufus Thomas,
Robert Görl,
Lizzy Mercier Descloux,
Procol Harum,
EPMD,
Outsiders,
Soft Cell,
Jeff Lynne,
The Zeros,
The Royal Family And The Poor,
Radio Birdman,
Slick Rick,
Pagans,
Avey Tare & Kría Brekkan,
Buzzcocks,
The Dirtbombs,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.