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 Guatemala and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Mumbai 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the rap kids.
I played it at the Roxy.
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 Radiohead. All the underground hits.
All Ultravox 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 grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Black Sheep,
Howard Jones,
Gil Scott Heron,
Sparks,
Cameo,
June Days,
Roy Ayers,
Warsaw,
Urselle,
The American Breed,
Peter Gordon & Love of Life Orchestra,
Ponytail,
Derrick May,
Ronnie Foster,
Audionom,
Teenage Jesus and the Jerks,
Pantaleimon,
Sexual Harrassment,
Funkadelic,
Bobby Byrd,
Skriet,
The Dave Clark Five,
The Seeds,
The Fugs,
Anthony Braxton,
Banda Bassotti,
The Alarm Clocks,
Camberwell Now,
The Fortunes,
Mantronix,
DJ Sneak,
Echospace,
The Gun Club,
Soft Machine,
Ten City,
Arab on Radar,
Gastr Del Sol,
Hoover,
New Age Steppers,
R.M.O.,
DeepChord presents Echospace,
MC5,
Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
EPMD,
B.T. Express,
Gichy Dan,
Tropical Tobacco,
Pharaoh Sanders and the Fire Engines,
The Grass Roots,
Nils Olav,
Amazonics,
The Last Poets,
Suicide,
Crispy Ambulance,
Magazine,
Nico,
Bang On A Can,
JFA,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.