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 Argentina and from Portland.
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 1963 to 1975.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 Fall to the punk kids.
I played it at CBGB's.
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 Doors. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Interpol,
Wings,
Franke,
Moby Grape,
Sexual Harrassment,
Chrome,
PIL,
the Soft Cell,
The Fall,
Judy Mowatt,
The Toasters,
The Vogues,
The Victims,
Ronnie Foster,
Josef K,
Reagan Youth,
Erykah Badu,
Aswad,
the Bar-Kays,
Absolute Body Control,
Stetsasonic,
Boz Scaggs,
Masters at Work,
Schoolly D,
Matthew Bourne,
Terrestrial Tones,
The Martian,
Television,
Anthony Braxton,
Rites of Spring,
Andrew Ashong & Theo Parrish,
Isaac Hayes,
Sparks,
Marc Almond,
The Smiths,
Fifty Foot Hose,
The Happenings,
De La Soul & Jungle Brothers,
Camberwell Now,
Oneida,
Dark Day,
Big Daddy Kane,
Rotary Connection,
Gabor Szabo,
Crime,
Eve St. Jones,
Beasts of Bourbon,
Alphaville,
Barrington Levy,
Outsiders,
The Tremeloes,
Fat Boys,
Blake Baxter,
Procol Harum,
Peter and Kerry,
DeepChord presents Echospace,
Man Eating Sloth,
The Chocolate Watch Band,
Johnny Osbourne,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.