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 Uzbekistan and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Seoul 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 güiro sounds with much patience.
I was there when David Bowie 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 Circle Jerks to the rock 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 Art Ensemble Of Chicago. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Agitation Free 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Deutsch Amerikanische Freundschaft,
Flamin' Groovies,
Eric B and Rakim,
Nas,
Lee Hazlewood,
the Bar-Kays,
Franke,
The Busters,
June Days,
Gang Green,
Severed Heads,
Pantaleimon,
Aural Exciters,
Eurythmics,
Heavy D & The Boyz,
Cecil Taylor,
Gil Scott-Heron and Jamie xx,
Lower 48,
Lonnie Liston Smith,
Monolake,
Bobby Womack,
T.S.O.L.,
David McCallum,
Minor Threat,
Crispian St. Peters,
Clear Light,
Robert Görl,
Boredoms,
Mark Hollis,
Laurel Aitken,
The Selecter,
Roxy Music,
Brick,
Jacob Miller,
Thee Headcoats,
The Smiths,
LL Cool J,
Al Stewart,
Television,
Au Pairs,
Joyce Sims,
Sad Lovers and Giants,
Barrington Levy,
Chrome,
Aaron Thompson,
Hasil Adkins,
Slave,
A Flock of Seagulls,
Red Lorry Yellow Lorry,
Nation of Ulysses,
Janne Schatter,
The Blackbyrds,
Groovy Waters,
Curtis Mayfield,
Unrelated Segments,
Aswad,
Television Personalities,
Barbara Tucker,
The Happenings,
The Music Machine,
Rakim, Rakim, Rakim, Rakim.
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.