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 Sudan and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and New York.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Brick to the rock kids.
I played it at Cafe Wha.
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 Metal Thangz. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Index,
Avey Tare,
Bush Tetras,
Moby Grape,
The Move,
The Sound,
Chris & Cosey,
The Cramps,
Sun City Girls,
Fifty Foot Hose,
James Chance & The Contortions,
Tropical Tobacco,
Supertramp,
Amazonics,
New Order,
Angels of Light & Akron/Family,
Charles Mingus,
The Martian,
The Fall,
Brick,
Roy Ayers Ubiquity,
Wings,
Intrusion,
The Standells,
Stereo Dub,
Robert Wyatt,
Siouxsie and the Banshees,
Roxy Music,
Pagans,
Lonnie Liston Smith,
Anthony Braxton,
Yazoo,
Judy Mowatt,
Derrick Morgan,
Con Funk Shun,
The Shadows of Knight,
The Monks,
Magazine,
The Pop Group,
Franke,
Barry Ungar,
The Dave Clark Five,
Bootsy's Rubber Band,
The Barracudas,
Second Layer,
Animal Collective,
Eric Dolphy,
Lalo Schifrin,
June Days,
Warren Ellis,
DNA,
The Men They Couldn't Hang,
Flipper,
The Slits,
Derrick May,
The West Coast Pop Art Experimental Band,
Soft Machine,
Faraquet,
The Tremeloes,
The Music Machine,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.