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 Italy and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Woodstock 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 New York Dolls to the rap 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 Derrick Morgan. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Visage,
Reuben Wilson,
Bobbi Humphrey,
D'Angelo,
Robert Hood,
ABBA,
David Axelrod,
Soft Machine,
Ten City,
Gil Scott-Heron and Jamie xx,
The Real Kids,
Lebanon Hanover,
The Cowsills,
Spoonie Gee,
Kango’s Stein Massive,
Magazine,
Section 25,
Heavy D & The Boyz,
Alice Coltrane,
Robert Görl,
The Wake,
Harmonia,
Stiv Bators,
Skriet,
Dr. Dre and Snoop Doggy Dog,
Brand Nubian,
Delta 5,
Sex Pistols,
48th St. Collective,
Outsiders,
Scrapy,
Clear Light,
Ohio Players,
The Raincoats,
Black Moon,
James White and The Blacks,
The Gun Club,
Nick Fraelich,
The Men They Couldn't Hang,
The Move,
The Misunderstood,
The Gap Band,
Yaz,
10cc,
Sight & Sound,
Ronnie Foster,
Peter & Gordon,
Khruangbin,
Derrick May,
Crime,
A Flock of Seagulls,
Lower 48,
Cluster,
Albert Ayler,
Pharaoh Sanders and the Fire Engines,
The Young Rascals,
Grandmaster Flash and the Furious Five,
Interpol,
Deutsch Amerikanische Freundschaft,
The Chocolate Watch Band,
The Grass Roots,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.