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 Lesotho 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 1965 to 1974.
I'm losing my edge.
To all the kids in Manila and Cairo.
I'm losing my edge to the art-school Stockholm 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 The Sisters of Mercy 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 The Angels of Light. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Glambeats Corp.,
Wolf Eyes,
Sarah Menescal,
Lou Reed & John Cale,
Arcadia,
The Fall,
Lizzy Mercier Descloux,
Todd Rundgren,
Flash Fearless,
Malaria!,
Gil Scott-Heron and Jamie xx,
Adolescents,
Magazine,
Faraquet,
Can,
Alton Ellis,
Blossom Toes,
Isaac Hayes,
Althea and Donna,
Freddie Wadling,
A Certain Ratio,
Major Organ And The Adding Machine,
Pharaoh Sanders and the Fire Engines,
Pulsallama,
Man Parrish,
Silicon Teens,
Marc Romboy vs. Booka Shade,
Accadde A,
Crash Course in Science,
Big Daddy Kane,
Dark Day,
Talk Talk,
Negative Approach,
Lungfish,
Radio Birdman,
Sly & The Family Stone,
Terrestrial Tones,
48th St. Collective,
Yellowson,
Bang On A Can,
Rhythm & Sound,
The Doors,
Outsiders,
The Misunderstood,
Brass Construction,
Lee Hazlewood,
Gian Franco Pienzio,
Fifty Foot Hose,
Michelle Simonal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sugar Minott,
The Slits,
The Beau Brummels,
Rosa Yemen,
Mary Jane Girls,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Rakim,
Hardrive, Hardrive, Hardrive, Hardrive.
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.