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 Finland and from New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Smoke to the jazz 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 Half Japanese. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Carl Craig 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Liliput,
Parry Music,
Laurel Aitken,
Bauhaus,
Soft Machine,
Anakelly,
Talk Talk,
Chris Corsano,
Maurizio,
Big Daddy Kane,
The Selecter,
Gil Scott Heron,
MC5,
Kings Of Tomorrow,
Marshall Jefferson,
The Monochrome Set,
Black Sheep,
Lou Reed,
The Gun Club,
Warren Ellis,
The Invisible,
Skarface,
Wasted Youth,
Colin Newman,
Moebius,
Quantec,
Oneida,
Radio Birdman,
The Misunderstood,
London Community Gospel Choir,
The Real Kids,
CMW,
Carl Craig,
Sight & Sound,
Bluetip,
Moss Icon,
The Birthday Party,
UT,
Quando Quango,
Minnie Riperton,
The Residents,
The Fugs,
Kool G Rap & DJ Polo,
Wire,
Los Fastidios,
Sunsets and Hearts,
La Düsseldorf,
John Cale,
Bootsy's Rubber Band,
Roy Ayers Ubiquity,
Henry Cow,
Heavy D & The Boyz,
June of 44,
Isaac Hayes,
the Normal,
John Coltrane,
Jeff Mills,
Crash Course in Science,
Tubeway Army,
Kurtis Blow,
Public Enemy,
Hardrive,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.