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 Iraq and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
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 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 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 Deadbeat to the techno kids.
I played it at the 40 Watt.
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 Index. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Gil Scott Heron 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Art Ensemble Of Chicago,
Tears for Fears,
Mo-Dettes,
Fugazi,
Intrusion,
Minor Threat,
Faust,
The Detroit Cobras,
Khruangbin,
Glenn Branca,
Minny Pops,
Terry Callier,
The Move,
Fat Boys,
Delta 5,
Liliput,
Neil Young,
Nirvana,
Mandrill,
Beasts of Bourbon,
The Tremeloes,
Electric Prunes,
Warsaw,
Jesper Dahlbäck,
Joe Finger,
Aloha Tigers,
Grandmaster Flash,
cv313,
Aswad,
Letta Mbulu,
Eric B and Rakim,
Soulsonic Force,
Alton Ellis,
Lonnie Liston Smith,
Camron Feat. Memphis Bleek And Beenie Seigel,
Absolute Body Control,
Steve Hackett,
Crime,
Bluetip,
Jandek,
World's Most,
Ten City,
John Cale,
Simply Red,
Con Funk Shun,
Eurythmics,
Adolescents,
Oneida,
Siouxsie and the Banshees,
The Gun Club,
Scratch Acid,
Scott Walker,
Justin Hinds & The Dominoes,
Duran Duran,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Faraquet,
Howard Jones,
Jacques Brel,
Toni Rubio,
Arab on Radar,
Orchestral Manoeuvres in the Dark,
Motorama,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.