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 Tanzania 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 1966 to 1972.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 The Durutti Column to the techno kids.
I played it at the Troubador.
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 Minnie Riperton. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every The Velvet Underground 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Porter Ricks,
The Trojans,
London Community Gospel Choir,
Barrington Levy,
Arthur Verocai,
Fear,
H. Thieme,
Lafayette Afro Rock Band,
Eddi Front,
Tres Demented,
Siglo XX,
Public Image Ltd.,
The Gladiators,
Roy Ayers,
De La Soul & Jungle Brothers,
Eric Copeland,
The Seeds,
Das Ding,
Chrome,
Von Mondo,
James Chance & The Contortions,
Amazonics,
Delon & Dalcan,
Maleditus Sound,
Alice Coltrane,
Mantronix,
Bobby Byrd,
Ash Ra Tempel,
Leonard Cohen,
Pete Rock & C.L. Smooth,
The Smiths,
Nirvana,
Liaisons Dangereuses,
The West Coast Pop Art Experimental Band,
Khruangbin,
the Normal,
Frankie Knuckles,
Niagra,
Vaughan Mason & Crew,
Roy Ayers Ubiquity,
The Toasters,
Maurizio,
Visionaries,LMNO, T- Love & Iriscience,
Trumans Water,
Circle Jerks,
Sam Rivers,
Harmonia,
Kaleidoscope,
Ajijia Myrayebe,
The Busters,
Pharaoh Sanders and the Fire Engines,
The Electric Prunes,
The Raincoats,
Laurel Aitken,
Angry Samoans,
The Cowsills,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.